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Full text of "The tonic sol-fa music reader : a course of instruction and practice in the tonic sol-fa method of teaching singing, with a choice collection of music suitable for day schools and singing schools"

PRICE, 6O CENTS EACH 



Complete 






Deader 



Revised and Improved. 



By THEODORE F. SEWARD and B. C. UNSELD, 




APPROVED BV JOHN 



THE BlGLOW & MAIN Co,, PUBLISHERS, 

AST NINTH STREET, ^ No. 215 WABASH AVENUE, 

NEW YORK. CHICAGO. 



AY BE ORDERED THROUGH ANY BOOKSELLER OR MUSIC DEALER. 



*,G,TUBMBULL, 

BOOK SELLER, 
HAMILTON. 



T 1 



FACULTY Cf ;,1USIC 
LIBRARY 



THE 



TONIC SOL-FA MUSIC READER 

REVISED AND IMPROVED. 

A COURSE OF INSTRUCTION AND PRACTICE IN THE 

TONIC SOL-FA METHOD OF TEACHING SINGING, 



WITH A 



CHOICE COLLECTION OF Music SUITABLE FOR DAY SCHOOLS AND 

SINGING SCHOOLS. 



-- 



BY THEODORE F. SEWARD AND B. C. UNSELD. 

APPROVED BY JOHN CURWEN. 



The Biglow & Main Co., -Publishers, 

136 FMKTH AVENUE, NEW YORK. LAKESIDE BUILDING, CHICAGO 



TOK SALE BY BOOKSELLERS AND MUSIC DEALERS GENERALLY. 




Copyright, l88b, by Kigiow & Main. 
Copyright, 1890, by Biglow &. Main. 

^ MT 2 7 1997 o)) 

&* ~*^REFACE TO THE FIRST EDITION. 

tfs/^ 

__^^___ IL-FA SYSTEM is presented by the authors of this book to the American public, in the firm belief that the intro- 
duction o: tne system will mark a new era in the musical history of this country. The TONIC SOL-FA SYSTEM presents two widely 
different characteristics, either one of which ought to commend it to all who are interested in music. Together they constitute an 
absolute demand for recognition. These characteristics are : 

FIRST. It removes three-fourths of the difficulties of music from the path of the beginnei- ; and, 

SECOND. P leads to far -reater intelligence and appreciation in the advanced stages of study and practice. 

A scnolarly American musician has recently written concerning TONIC SOL-FA : "It is not only a method of making music 
easy, but for making it more truly and profoundly understood." 

The TONIC SOL-FA SYSTEM is often called, by those who use it, "the natural method." The steps of progression are so easy 
and natural that both teachers and pupils find a pleasure in the study that they never realized before. It is so simple as to bring 
about a new departure in the teaching of music, in the following respect 77io.se ?c/io know a little about music can teach tttat little with- 
out being compelled to master the whole science beforehand, as is necessary icilh the stuff notation. In this way a new class of teachers is 
developed wherever the TONIC SOL-FA SYSTEM is introduced, viz.: persons of education and culture who love music, but who have 
heretofore been deterred by its technical difficulties from devoting themselves to it. It has been a common experience in England 
for such persons to begin teaching the first steps by the SOL-FA method, and. becoming interested, they have gone on studying and 
teaching till they were led to devote themselves exclusively to music, and became among its most intelligent exponents and suc- 
cessful workers. 

Try the system fairly. Do not omit the best points and fancy you know all about SOL-FA. The various devices and expedi- 
ents presented in the system are not matters of theory, but the outgrowth of years of actual trial and experience by many of the 

best teachers of Great Britain. 

It is important to state that the " TONIC SOL-FA Music READER," is published with the full sympathy and approval of Mr. CURWEN, 
the founder of the system. The first steps were submitted to him for examination and were returned approved, with but few and 
unimportant changes. Since the recent death of Mr, CURWEN. his son, Mr. J. SPENCER CURWEN, who takes his place in directing 
the movement in England, has examined and approved the MS. 

THEO. F. SEWARD, 
Orange, N. J. B. C. UNSELD. 

e 
PREFACE TO THE NEW EDITION. 

When the Header was first issued, in 1880, the TONIC SOL-FA system was almost unknown in America. It is now an acknowl- 
edged factor in our national education. Mr. Louis A. Russel, in the preface to his "Method of Solfeggio," says, "In America 
there has been no new thought or method in sight-singing for the last 20 years which cannot uo traced more or less directly to 
Mr. Curwen's influence. " 

The advocates of the Staff Method cannot dismiss TONIC SOL-FA with a word, as they were able to do ten years ago. But their 
present attitude is, perhaps, as far as their influence extends, even more injurious to the interests of musical education. They 
freely acknowledge the merits of the system, but claim that its advantages can be secured by a direct application to the staff. This 
is a fatal fallacy. The blessing of TONIC SOL-FA to the world is in its notation. The devices which grovout of the notation can no 
more be educationally applied to the staff than the methods of modern arithmetic can be applied to the.Roman system of numerals. 
The transforming power of TONIC SOL-FA is in its natural and philosophical method of representing the beautiful realities of the 
tone world. 

The educational part of this book the method proper is drawn from Mr. CURWEN'S various published works, but mainly from 
"The Standard Course." The authors claim no originality except in the manner of presentation. It has been prepared with great 
care, taking in every valuable, point of the system, but rearranging and condensing for the special adaptation of the method to the 
musical needs of this country. The "Standard Course," which is Mr. CURWEN'S most complete setting forth of the system, includes 
full instructions in vocal training, harmony, musical form, etc, etc. The "Tonic Sol-fa Music Reader" presents only the facts of 
time and tune, for the use of elementary classes. Part I, embracing the first four Steps of the method, contains the instructions and 
exercises needed to prepare pupils for the Junior and Elementary Certificates. Part II, embracing the Fifth and Sixth Steps and 
an introduction to the Staff notation, furnishes the material necessary for the preparation for the Intermediate Certificate. The two 
parts are also bound together in a complete edition. 

THEO. F. SEWARD, 
New York, Jan., 1890. *> B. C. UNSELD. 



The Certificates of the Tonic Sol-fa College, 



Steps of the Method. 

A great advantage of the Tonic Sol-fa method is that it is 
really a system, from beginning to end. One of the most useful fea- 
tures of the method is the arrangement of the course of instruction 
in a series of graded steps. The close of each step is intended as 
a point at which the work should be revised, and the standing of 
each pupil ascertained before proceeding to the next. Any- 
thing which is left dimly understood or imperfectly practiced in 
one step, is only a legacy of so much confusion, weakness and 
discouragement handed over to the next. How many lessons 
will be required to teach each step it is difficult to say, without 
knowing the kind of class. The teacher should be guarded against 
hurry rather than delay. 

The Certificates. 

The Tonic Sol-fa movement has been distinguished from all 
other efforts to promote music among the people by its System of 
Certificates, issued by the Tonic Sol-fa College of London. It is 
a complete system of examination upon an extensive scale. The 
special object of these certificates is to save the pupil from 
one-sidedness, and to secure an equality of progress in tune, time, 
memory, etc., as well as to promote private study and discipline 
at home. They insure an "all-roundness" of training and serve 
as a stimulus to the pupil. For the true pupil they find out (what 
he wants to know) his weak places, show him in what direction 
self-teaching is specially demanded, and give him the confidence of 
knowing that he has really and satisfactorily reached a certain 
stage. The ambition to obtain them promotes such an amount of 
]ioine-%vork that it fully four-folds the work of the teacher. 



American Tonic Sol-fa College. 

THE AMERICAN TONIC SOL-FA ASSOCIATION AND COLLEGE op 
Music (Post office address, New York, N. Y.) was incorporated 
in 1889 under the laws of the State of New York. Itucts in affil- 
iation with the Tonic Sol-fa College of London, and its certi- 
ficates are recognized as equivalent to its own. Information as to 
organization, postal courses, examinations, etc., may be obtained 
by writing to the above address. 

Below are the requirements of the first two certificates.* The 
questions in Theory of the Second Grade are here omitted be- 
cause of lack of space, but may be obtained from the College at 
2 cents per copy, plus postage. 

Manner of Teaching-. 

It is hardly necessary to say that the ways of presenting the 
various subjects in this book are not to be followed mechani- 
cally. They are illustrations of the manner in which the topics 
may be treated, but every teacher will have his own way of 
carrying out the details. See Manual for Teachers of the School 
Series (price, 12 cents, by mail) for other ways of teaching the vari- 
ous topics. One of the leading characteristics of this system is 
that so little time needs to be occupied with theory. "We learn 
to do by doing " is the grand motte of the Tonic Sol-faist. The 
new devices of the system the Modulator, Manual Signs, Time- 
names, and even the doctrine of Mental Effects are all expedients 
for leading the student to practice more, to think more, to remember 
better; in other words, to increase his musical intelligence. 



* Reprinted by kind permission of the American Tonic Sol-fa Associa- 
tion and College of Music, owners of Copyrights. 



Requirements for the First Grade or Preparatory Certificate. 

Examiners. Those who hold the Second Grade or a higher certificate, 
with Theory, and who have been appointed to examine by the College of 
ii usic. 

1. Memory. Bring on separate slips of paper the names of three tunes, 
and snl-fa from memory, while pointing it on the modulator, one of these 
tunes chosen by lot. 

2. Time. Taatai once, and then laa on one tone in perfectly correct time, 
any of the rhythms Nos. 1, 3, 4, 5, 7, 9 or 11 (see pp. 107-8) which the Exam- 
iner may select. [Two attempts allowed ; a different test to be given for 
the second trial.] 

3. Modulator. Sol-fa or laa from the Examiner's pointing on the modu- 
lator, a voluntary, moving at the rate of M.60, consisting of at least twenty- 
four tones, including leaps to any of the tones of the scale, but neither 
transition nor the minor mode. 

4. Tune. Sol-fa or laa at sight, from the tonic sol-fa notation, a phrase 
of eight tones, all in the common nuijor scale, and no tones shorter than 
a pulse. 

5. Ear Test. The key-tone having been given, tell the sol-fa names of 
the tones of the Doh chord sung to laa or played in any order, also the 
phrases fab. me and te, doh. 

First Grade Musical Theory. 

Answer any two or more of the following Questions, put by the Exam- 
iner: 

1. Name the tones of the scale and their mental effects. 

2. Name the tones of the Doh chord; of the Soh chord; of the Fab 
chord. . 

3. Name the little steps of the scale. 

4. What is the time name of an undivided pulse? 

5. "What is the time name of a pulse divided into halves? into quarters? 

6. Write in two-pulse measure an exercise of two measures : (a) In 
primary form, (b) In secondary form. 



7. Write in three-pulse measure an exercise of two measures : (a) In 
primary form, (b) In secondary form. 



Requirements for the Second Grade or Elementary 
Certificate. 

Examiners. Those who hold the Third Grade, or a higher certificate, 
with Theory, and who have been appointed to examine by the College of 
Music. 

Befere examination, Candidates must satisfy the Examiner that they hold the 
First Grade Certificate. 

1. Memory. Bring on separate slips of paper the names of six tunes, 
and sol-fa from memory, while pointing it on the modulator, one of these 
tunes chosen by lot. 

2. Time. Taatai at first sight and then laa in perfectly correct time, a 
test which may contain any of the quarter -pulse divisions. [Two attempts 
allowed; a ditterent test to be given for the second trial.] 

3. Modulator. (a) Sing to laa to the Examiner's pointing on the modulator, 
a voluntary, including leaps to any of the tones of the *cale, but neither 
transition nor the minor mode, (b) Sol-fa or laa u voluntary, containing 
transition of one remove in each direction. 

4. Tune. Pitch the key-tone by means of a given C; sol-fa once, then 
sing to Ida. a, sight test in tune containing leaps to any tones of the scale ; 
but neither transition, nor minor mode, nor any divisions of time less than 
a full pulse. 

Candidates may laa instead of sol-faing the test. 

5. Ear Test. Tell the notes of a phrase of three tones in stitonth melo- 
dic progression. The Examiner will give the key -tone and sing the test 
to laa, or play it upon an instrument. [Two attempts allowed; a different 
test to l.-e given for the second trial.] 

The College will supply to the examiner the tents to be used in Nos. ?, U and 5 
NOTK. The registration fee for this Certificate is 15 cents, which is exclusive 
of Examiner's fee. Registration fee stamp may be purchased from the Examiner. 



4, 



MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY. 

NOTE. The diagrams show the right hand as seen by pupils sitting in front of the teacher towards his left hand. The teacher makes 
kis signs in front of his ribs, chest, face and head, rising a little as the tones go up, and falling as the tones go down. 



FIKST STEP. 




SOH. 
The GBAND or bright tone. 




The STEADY or calm tone. 




DOH. 

The STRONG or firm tone. 



SECOND STEP. 




The PIERCING or sensitive tone. 




RAY. 

The ROUSING or hopeful tone. 



THIRD STEP. 




LAN, 

The SAD or weeping tone. 




FAH. 



The DESOLATE or awe-inspiring tone. 



Mental Effects. Some teachers are, at first, inclined to 
ignore this doctrine ol the Sol-fa method, but it is a subject emi- 
nently worthy of the profoundest study. Mental effects are 
difficult to perceive because they are mental Let not the 
teacher be discouraged if he does not at once grasp the whole 
matter. The perception of menial effect is cumulative, the more 
the subject is studied the plainer it becomes. The practice of 



teaching by mental effect has become so important in the Tonio 
Sol-fa method thut the teacher cannot take too much pains to 
master it. He should remember that these effects exist, whether ha 
recognizes them or not, and it is certainly wiser to utilize than to 
ignore them. The pamphlet "Studies in Mental Effects" fur* 
nishes a large variety of examples. 



NOTE. Tliese proximate verbal descriptions of mental effect are only true of the tones of the scale when sung slowly when ft* 
a is jUied with the key, and when the effect is not modified by harmony. 



FINGER-SIGNS FOR TIME, 

AS SEEN FROM THE PUPIL'S (NOT THE TEACHER'S) POINT OP VIEW. 



5 







TAA. 



TAATAI. 



tafatefe. 



TAAtefe. 






-AA, 




-AATAI. 



TAA-efe. 



tafaTAI. 






BAA. 



TAA&iZ 



SAATAI. 



The Modulator, (see page 6). As the Sun is the centre 
of the Solar system so the Modulator is the centre of the Sol-fa 
system. The Modulator in the Tonic Sol-fa notation takes the 
place of the Stuff in the common notation. It stands behind 
every note we see in the book. From habitual use of it, the 
Mind's eye always sees it there. It is our "pictorial symbol of 
tone relations." In the first steps it shows us the relations of 
tones in a single 'key. and at the fourth and other steps it shows 
the relations of keys to one another. A complete familiarity 
with the Modulator is of the utmost importance, for it is impos- 
sible to understand the notation properly until it is printed on 
the mind; in fart, until the letters of a tune become not merely 
a straight line, but "pointers" which at once carry the mind to 
the Modulator. It is to the Sol-fa singer what the key-board of 
the piano is to the player. It is not simply a diagram illustra- 



ting the intervals of the scale and related keys, to be used a few 
times and then laid aside. Its great value is in the means it 
affords for drilling the class on the tones of the scale. It will be 
observed that the syllables are spelled with the English soundj 
of letters instead of the Italian, as has heretofore been the usage. 
The open sound of soh is preferred to sol as being more voc;il. 
The exchange of "te" for"se" (si) is a needed improvement for 
several reasons, viz. : 1. The use of the syllable "se" (si) twice, 

1. e., as the seventh of the ma;or scale and also of the minor. 

2. The letter "s"hasthemostunpleasant sound in the language, 
and it should not occur more than once. 3. The change gives 
an additional consonant, and is useful for practice in articula- 
tion. 4. In the Sol-fa notation a different initial letter if needed 
for either soh or se. 



NOTATION OF TIME. 

The long heavy bar indicates a strong accent; the short, thin bar ( | ) 
a medium accent, and the colon (:) a weak accent. 

Time is represented by the space between the accent mnrks. The 
space from one accent mark to the next represents a PULSE. {Beat, or Part 
of the measure.) The space between the strong accent marks (long bars) 
represents a measure. 



TWO-PULSE 

MEASURE. 



THUEE-PUL8E 
MEASURE. 



FOUR-PULSE 
MEASURE. 



8TX-PUL8E 
MEASURE. 



(l it ( \ I II rl 

II ' ' I II ' I II 

The Tonic Sol-fa Method makes use of a system of Time-names to aid 
in the study of time. The Pulse is the unit of measurement, and a tone 
one pulse long is named TAA. 

d :d Id :d 



The continuation of a tone through more than one pulse is indicated 
by a dash, and the time-name is obtained by dropping the consonant. 

d :d |d : id :- | : n 

TAA TAA TAA - AA | TAA - AA - AA - AA II 

A pulse divided into halves half-pulse ) -, , ,-, , 
tones is named TAATAI, and is indicated in the > I " u (* U 
notation by a dot in the middle. ) I TAATAI TAATAI 



A tone continued into the first half of the 
next pulse a pnlse-aud-a-half tone is named 
and indicated thus: 

A pulse divided into quarters is named ta- } 
fatefe, and is represented by a comma in the > 
middle of each half-pulse. ) 

A pulse divided into a half and two quart- 
ers is named TAAtefe. 



:- .d 

-AA TAI 



d,d,d,d!d 

ta-fa-te-fe it 



j 

.Q 



H 



d ,d,d:d .d,d 

TAA - te-fe TAA - te-fe 



A pnlse divided into three quarters and a 
quarter is named TAA-efe, and is indicated by 
a dot and comma. 

Thirds of a pulse are named TAATAITEE, and ) I 
represented by commas turned to the right, j I 

Silences (Rests) are named by substituting ] I 
the letter S for T or f, thus a full pulse silence 
is named SAA ; a half pulse silence is named 
SAA on the first half of a pulse and 8AI on 
the second half. Quarter pulse silences are 
named .sa on the first half and.se on the second. 
Silences are indicated by the absence of notes 
in the pulse divisions, i. e. vacant space. 



j , j 
** ** 

-efe TAA 



-efe 



d 4 d <d :d ,d 4 d 

taa-tai-tee taa-tai-tee 



SAA 



.d 



l TAA SAI SAA TAI 

|d,d.d, : ,d.d,d 

ta-fa-te-se *a-fa -te -fe 



THE MODULATOR. 



1 


r' 


8' 


d 1 


f 


1 

8 


d 1 


E sa' . , 
fe 

f 


t 


n 1 




t 


m 1 


1 


r 1 


f 


1 


- ma 1 
re : 

_^ r 1 


so 


d 1 




i 

se 
g 


'- ral de = 

DOH 1 


fe 
f 


t 




fa 


TE 


PI 


1 


d 

ti 


f 

n 


1 ta le = 
LAH _^- 


r 


8 




r 


i la SOH 8e i 


d 


f 


i 

81 


d 


- sa f - 

ba 

FAH 


t, 

ta. 


n 




t 


ME 


1, 


r 


f, 


i 


- ma 
re 

=_ RAY 


86, 
Si 


d 


I'll 
r, 


ii 

86, 


= ra de = 

DOH 


fe, 
f 


t, 


*l 


1 

fe, 


t| 


m, 


l, 


d, 

t; 


f, 

PI, 


[ te . 8l ! 
ii -- 


"1 

r, 


Si 




Ti 


E la t 

88, - 

Si 


di 


f, 


8 
So 


d 


= "i fe t I 
f, 


t, 

te_ 


m, 






N| 


la 


r ( 














NOTE. AA has the sound of a in father , AI, as in aid ; e, as in effect. 



Minuter divisions of the pulse, sixths, eighths, niuths, are seldom used except in instrumental music. In the Sol fa notation 

_O_ 4*. _o o 

distinction is nuU between , , , etc., there being but one way of writing the different varieties of measure. 



THE TONIC SOL-FA Music READER. 



PART I. INSTRUCTIONS AND EXERCISES IN THE FIRST, SECOND, THIRD AND FOURTH STEPS. 
COVERING THE JUNIOR AND ELEMENTARY CERTIFICATES. 



FIRST STEP. 

To recognise and produce the tones Doh, Me, Soh ; the upper octave of Doh, and the lower octave of Soh. To recognize and produce the 
strong and weak accent, and the simplest divisions of time, viz : the Pulse, the half-pulse, two-pulse measure and three-pulse measure. 



The first lesson may begin by practicing a familiar tnne, or 
by a few appropriate remarks by the teacher, after which he may 
say 

You may listen to me and be ready to sing the exam- 
ples I give you. 

He sings a tone which he considers in his own mind as Doh, 
the first tone of the scale, at about the pitch of D or E, clearly 
and firmly to the syllable laa 

You may all sing it. 

The Dash - will signify that a command is obeyed or 
^ question answered. It may be necessary to repeat the example 
several times before the voices blend well. 

NOTE. The teacher should never sing with his pupils, but give ex- 
amples or patterns carefully "which they are to imitate. They should 
listen while he sings, and lie listen while they sing. Mr. Curwen says, 
" The first art of the pupil is to listen well. He that listens best, sings 
best " After this tone is sung correctly, the teacher may say 

Listen to me again 

He now sings a tone a fifth higher, Soh, the fifth tone of the 
scale, to the syllable laa. The pupils imitate. 

Now sing these two tones, after me, just as I sing 
them. 

He sings the two tones in succession, to laa, in any order he 
chooses, but varies the manner of producing them ; making 
them sometimes loud, sometimes soft, long or short ; changing 
the pitch of Doh, 'frequently, sometimes singing C and G, some- 
times E and B, or D and A, etc., the pupils imitating each pat- 
tern. See examples below Exs. 1 to 4. 

SOH ^ e W ^ now l earn ^ ie names of these two tones 

The lower tone is called Doh What is it called? 
The upper tone is called Soh What is it called ? 

NOTE. In giving otit a new fact or principle the teacher 
should always question the pupils, that they may not only hear 
* stated but be led to state it themselves. The teacher, as he 



o sae . , 

gives the names, writes or "prints" them on the blackboard, 
Soh above J)oh, leaving considerable space between them. 

Now we AVill sing the tones to their names ; repeat 
after me the tones I give you. 



The following exercises are specimens of patterns which the 
teacher may give. The upright lines indicate how much of each 
exercise may be given as a pattern. The horizontal dash 
shows that the tone should be prolonged. 



1. KEYS D, F AND C. 



d d d s s 



d d - s 



|s s s Id 
3. 

|d d s |s s d 



d d Is s 



- Id 



|d - 



d 



s d 

d s d 

d s s d 

s s d 



You may now sing as I point to the names on the 
blackboard and without a pattern from me. 

They sing, to his pointing, exercises similar to those given 
above. 

Sing again as I point, but this time sing the tones to 
laa. 

He points to the names, they sing to laa. In all these exer- 
cises the teacher will frequently change his keytone, lest the pupils 
be tempted to try to sing by absolute pitch instead of giving 
their attention to the relation of tones. 

Now I will sing Doh and you may sing the Soh to it. 

He sings Doh and then gives them a signal to sing Soh. 

I will take a different Doh and you may give me the 
Soh to it. 

He takes a different pitch for Doh and they sing the Soh t* 
it. This he does several times, always changing the keytoue. 

You may now name the tones as I sing them, 1 will 
sing to laa, and when I sing the lower tone, say Doh, and 
when I sing the upper tone say Soh. 
--. He sings the two tones in various successions, the pupils 



FIRST STEP. 



calling out " Doh," " Soh," etc. It may be well for him to sing 
each tone several times and not to change too quickly for in- 
stance dddd;sssddssdsdssd, etc. 

Name them once more, and if I sing a different tone 
from these two, one that is neither Doh nor Soh, you may 
say New-tone. 

He sings as before, the class calling out the names, and after 
keeping them a little while in expectation, he sings the third 
tone of the scale Me (of course, to laa), which the pupils at 
once deh ct. It is better to let the new tone come in after Soh, 
thus, d s PI. 

Is the new tone higher or lower than Doh ? 

Is it higher or lower than Soh ? 

The name of the new tone is Me. 

What is its name? 

Where shall I write it on the board? 

See diagram. 

Imitate the patterns I give you. 

He patterns the following, or similar examples, singing to 
the names, which the pupils repeat. A narrower type and some- 
what altered form is given to the letter m (Pi), for convenience 
in printing. 

5. KI;YS D, F AND C. 

dan | PI s d |ds PI s d || 

o. 

d n d |s PI s |pidrn PI s m || 



SOH 

ME 

DOH 



T'. 

sd 



rn 



s Isspi 



'drns spid ldspid[| 

Now sing as I point. 

The teacher should drill the class thoroughly on these three 
tones, singing them first to the names and afterward to laa. 

The pitch should be changed frequently. 

Thus far we have been studying tlie names and relative 
positions of these three tones, but now I want to call your 
attention to the most important and most interesting thing 
about them, and that is their characters, or the eflveifi or 
impressions they produce upon the mind. One of them is a 
strong, firm tone; another is a bright, clear, grand tone; 
and another is a gentle, peaceful, calm tone. I want yon to 
find out the character of each tone for yourselves. You 
may listen to me and, as I sing, give your attention speci- 
ally to Doh, and then tell me which of these characters it 
has; whether it is calm and peaceful, or clear aud grand, 
or strong and firm. 



Teacher sings the following phrases 01 something similiar, 
bringing out strongly the character of Doh: 

[d : |d :d |m:m|d : |d :n|s :ro|s :s |d : 1| 

Is Doh calm aud peaceful, or clear and grand, or strong 
and firm ? 

Now listen to Soh and tell me what character it has. 
Teacher sings the following phrase : 

|d :d ]n :d |s :s s : |s :m |d :n |s :s |s : [) 

What kind of a tone is Soh? 

Now listen to Me. 

Teacher sings the following phrase : 

:d |m :d |m :s |n : |m :n s :n |d :s |m: 1| 

What is the character of Me? 

What kind of tone is Doh? Soh? Me? 

I call your attention to these characters or mental ef- 
fects of the tones not as a mere matter of curiosity, but as 
a real help in singing them. As you try to sing a tone, 
think of its mental effect and that will help you to sing it 
correctly. 

Let us now learn to sing the tones from signs repre- 
senting their mental effects. The strong, firm tone is repre- 
sented by the closed hand thus, (see manual signs). All 
make it. 

What kind of a tone is indicated 'by this sign? 

What is its name? 

The bright, clear, grand tone is represented by the open 
hand thus . All make it. 

What kind of a tone does this sign indicate? 
, What is its name? 

And this sign (open hand, palm downwards), represents 
the calm, peaceful tone. All make it. 

What kind of a tone is indicated by this sign? 

And this? and this? etc., etc., etc. 

Give me the sign for the strong tone. 

The sign for the grand tone. 

Tlie sign for the calm tone Grand tone. Strong 
tone, etc. 

You may sing the tone/? ns I indicate them by the 
signs. Think of their mental effects as you sing them. 

The teacher will give a good drill with the hand-signs, pu- 
pils singing to the sol-fa names and also to laa. 

Listen to me and when I sing the grand tone, instead 
of telling me its name, you may give me its sign. 

Teacher sings the tones to laa, and each time he sings soh 
the pupils make the sign. 



FIRST STEP. 



9 



Now give me the sign for the cairn tone when you 
hear it. 

Teacher sings as directed above, pupils make the sign. 

Now give the sign for the strong tone. 

Teacher and pupils as directed as above. 

Now give the sign for each tone as I sing. 

Teacher sings to laa, pupils giving the sign for each tone. 

1 will indicate the tones in yet another way. I will let 
4 stand for Doh, m for Me and s for Soh. 



Teacher writes the following exercise or a similar one. 

d d s s mm d 

You may sing the lesson as written and you will be 
singing from the Tonic Sol-fa Notation. 

The following exercises may now be written upon the board 
and practiced, or they may be sung from the book. first to 
the syllables and then to laa. '-Key C," "Key G," etc., will 
tell the teacher where to pitch his Doh. Although there is no 
indication of time in these exercises, they all have a melodic 
form and should be sung with a rhythmic flow. They may be 
sung as fast or as slow as the teacher likes; he can indicate the 
time by gentle taps on the table. 





0. 


KEY 


D. 








d 


d 




PI 


d 


PI 


PI 




10. 


KEY 


F. 








d 


PI 




S 


s 


>n 


d 




11. 


KEY 


C. 








d 


s 




PI 


s 


d 


d 




IS. 


KEY 


E. 








s 


n 




d 


P1 


s 


s 




is. 


KEY 


G. 








PI 


d 




S 


PI 


m 


d 




14. 


KEY 


E. 








n 


n 




PI 


d 


PI 


n 




is. 


KEY 


C. 








d 


s 




PI 


d 


PI 


d 




10. 


KEY 


D. 








d 


PI 




S 


n 


s 


n 



SP1SSP1P1SP1 
S S P1P1S S PIS 

PIS PI d PI PI s PI 
s PI s PI d n 



s 


PI 


P1 


PI 


s 


s 


PI 


s 


PI 


s 


n 


PI 


s 


n 


d 


PI 


s 


PI 


d 


PI 


d 


s 


PI 


s 


d 


s 


PI 


s 


d 


s 


d 


m 



The upper octave of Doh may now be taught by the same 
process as that used for Me. When the pupils have .discovered 
the new tone the teacher may proceed as follows: 

Is the new tone higher or lower than Doh ? 

Is it higher or lower than Me? 

TEigher or lower than Soh f 

The name of the new tone is Doh. What is its name? 

You may think it strange that we have two tones with 
the same name, but it will be explained a little later in the 
worse 

y(OTK The nature of octaves can be better explained after the com- 
plete scale has been taught 

Wl>ere shall I write it on the board? 

I need not write it in full; the first letter will be suf- 
ficient. 



Teacher writes a d in the proper place. 

In writing, the Upper Doh is indicated by the 
figure 1 placed at the top of the letter thus, d 1 , and 
is called One-Doh. While we are practicing this 
new tone I want you to be thinking about its men- 
tal effect; compare the Upper Doh with the lower 
and notice whether it has the same effect, or if it is 
stronger or firmer. 

Let the new tone be practiced in connection with 
the others, first by patterns from the teacher, and then 
from the teacher's pointing. Then let the teacher by 
questioning develop the fact that its mental effect is the 
same as the lower doh, only stronger or more positive. 
The manual sign for d 1 is the same as for d with the 
hand raised. The following exercises are given as 
specimen patterns for the teacher. Sing then first to 
the sol-fa syllables, and afterwards to laa. 



SOH 



OOH 



10 



FIRST STEP. 



Exercise 17 consists of short phrases, intended as patterns, to be given by the teacher. 
IT'. KEYS C AND D. 

jd n s d 1 |d' s n d|d's d 1 [d 1 s m |n d's |s m d | 
I d 1 rn s | s d 1 m | m d d 1 | d 1 d PI | m d 1 d | d d 1 s m d | 

After a thorough drill upon the tones by pattern, from the Modulator, Hand-Signs, and so on, the following exercises may be 
written upon the blackboard and practiced or they may be sung from the book. 



IS. KEY D. 

d d PI 

1O. KEY C. 

d s n 

50. KEY C. 

d 1 s PI 

51. KKY D. 

d m s 



d 1 



m 



d 1 d 1 



m 



n 
d' 
d 



d' 



n 



m 



m 



m 



PI 



PI 



d 1 



d 1 



d 
d' 
d 
d 



d' 



SOH 
ME 
DOH 



The teacher may now explain the lower octave of 
Soh by simply stilting that as we have an Upper Doh, 
so we may also have a Lower .S'o/t. It is indicated in 
the notiition by the figure 1 placed at the bottom of 
the letter thus s,, and is called tioh-One. Its mental 
effect is the same, only somewhat subdued. The 
hand si^n for s, is the same as for s with tlie hand 
lowered. Let tfoh-One be practiced after the same 
manner as that pursued with the One-Doh, only taking 
a higher pitch for the key tone. 



The following exercises are patterns for the teacher. 
SS. KEYS F, A and G. 

d BI d | d n s, d | d BI PI d 



I d PI s s. 



s, s m 



The class is now ready to practice the following exercises. 
SJ*. KEY F. 

ds|dmssmd 

S4. KEY A. 

d d PI d S, S, m d 

S>. KEY G. 

nimds|Sspid 

A20. KEY F. 

a s n d s, s, n d 



S| 



PI 



d m 

s m 

d a, 

m d 



n 



s. 



FIRST STEP. 



11 



TIME AND RHYTHM. 



Horn The Tonic Sol-fa treatment e* "he subject of Time (Rhyth- 
mics), differs essentially from that which ~a.s usually prevailed' in this 
country. Here the measure has been regarded as the standard or unit. 
Iii the Sol-fa method, the pulse, which corresponds to our beat or part of the 
meanure, is treated as the unit; and time is measuie.l by a regular recur- 
rence of accent This is undoubtedly the true philosophy. Iii fact some 
prominent teachers in this country have already developed this theory in 
their later works. There are several ways in which this subject may be 
presented to a class. The following will serve as an illustration of one 
way, which the teacher may vary, or condense or enlarge as he may deem 
best. For another method, see Teacher's Manual of the Tonic Sol-fa School 
Series, published by Biglow & Main. 

Listen to me, I will sing a familiar tune, and as I sing 
I wish you to observe that their will occur in your minds, 
at regular intervals, a throb or pulsation of some kind that 
keeps time with the music. 

The teacher sings to laa a familiar tune, such as "Haste thee, 
Winter, " 

|d :d |s :s |1 :1 |s : |f :f |n :m|r :r |d : ||etc. 
or "Vesper Hymn," 

|rn :s |f :s |m :s |r :s |m :s |f :r |d :t, |d : 1| 

bringing out the strong accent. 

Those who noticed the throbs or pulsations may hold 
up hands. 

I will sing again and will indicate these pulsations by 
"/dps upon the table, and you may indicate them by some 
potion of your hands. 

He sings again, giving a tap for each strong accent, the pu- 
pils making, perhaps, a downward motion of the hand. 

These throbs or heavy tones are called accents. What 
are they called? 

I will sing again and you will notice that after each of 
these accents there occurs a second pulsation, but of less 
force. 

He sings again, giving a heavy tap for the strong accent and 
a light tap for each weak accent. 

How many noticed the light throbs? 

The heavy pulsations are called strong accents, and 
the light ones are called weak accents. 

How many kinds of accents have we? 

I will sing again and you may indicate every accent, 
strong or weak, by some motion of your hand. 

The pnpils may be directed to make a downward motion 
for the strong accent and an upward motion for the weak acceut. 
These motions are not absolutly essential and they are not in- 
tended as an exercise in beating time, but merely as a means for 
the pupils to show to the teacher that they recognize the accents. 

Listen again this time I will occasionally stop singing 
to show you that the accents may go on in the mind with- 
out the music. 

In this exercise the teacher will occasionally stop singing 
for a measure or two but keeps on tapping in regular time. 



I will now show you that the accents will move quickly 
or slowly as the music goes fast or slow. 

Teacher illustrates this. 

You learn from all these examples that time in music 
is measured by regularly recurring accents. 

How is time measured in music? 

The time from one strong accent to the next strong ac- 
cent is called a Measure. 

What is it called ? 

What is a Measure ? 

The time from any accent, strong or weak, to the next, 
is called a Pulse. 

What is it called ? What is a Pulse ? 

Listen to me. 

He sings a number of measures to laa, two tones to each meas- 
ure, accenting distinctly, thus, LAA laa, LAA laa, etc. 

After each strong pulse how many weak pulses were 
there ? 

Yes, they were regularly STRONG, weak, STRONG, weak, etc. 

Listen again. 

This time he accents the first in every three, thus, LAA laa 
laa, LAA laa laa, etc. 

How many weak pulses followed each strong pulse ? 

Yes, they were regularly STRONG, weak, weak, STRONG, 
weak, weak, etc. 

Different arrangements of the. order of accents makes 
different kinds of measure. 

What makes different kinds of measure ? 

A measure consisting of two pulses, one strong and 
one weak, is called Two-pulse measure. What is it called? 

A measure consisting of three pulses, one STRONG and 
two weak, is called Three-pulse measure. What is it called? 

Listen to me, and tell me which kind of measure you 
hear. 

Teacher sings a number of measures to ka, accenting dis- 
tinctly, changing occasionally from two-pulse to three-pulse 
measure and back again, the pupils calling out "two-pulse," 
"three-pulse, " at each change. Or he may sing a familiar tune 
in each kind of measure and require the pupils to tell which 
kind of measure the tune is in. 



of time * * * Because no one can well learn two things at once, and, con- 
sequently those who try to do so are constantly found beating to their sing- 
ing instead of singing to an independent, steady beat. * * * .Beating; time 
can be of no use is only a burden to the pupil in keeping time, till it has 
become almost automatical, until "the time beats itself and you know 
that your beatinsr will go right whatever becomes of the voice. .1 hen, and 
not till then, the beating becomes an independent test ot the singing. 



lift 



FIRST STEP. 



American teachers, however, are so accustomed to teaching counting 
and beating time from the begiuniiig that the teacher may introduce it 
here if he prefers not as a test iu siugiug, but as a separate exercise as a 
means or a help in developing the sense of time. In two-pulse measure 
the countings are one two, one two, etc., and the motions of the hand are 
down up, down up, etc. In three-pulse measure the countings are one two 
three, one two three, etc., and the motions are down left up, down left up, 
etc., or down right up, etc. 

Iii practicing exercises in time it is useful to have names 
for the different lengths. The time-name of a tone one 
pulse long is TAA. 

The "AA" is pronounced as "a" in father. 

You may sing in two-pulse measure, one tone to each 
pulse, thus. TAA TAA, TAA TAA, etc. 

If preferred by the teacher, the syllable TRAA may be used 
for the strong accent. Let this be kept going until all get into 
the '-swing" of the rhythm alternate measures may then bo 
sung by the teacher and class, or by two divisions of the class, 
being careful to keep a steady rate of movement. Then let it be 
done with a different rate. 

Let us try two-pulse measure again, but this time begin 
with the weak pulse, thus, TAA TAA, TAA TAA, etc. 
Let this be practiced as above. 

When the measure begins with a strong pulse it is called 
the Primary Form of the measure. What is it called ? 

When is a measure in the Primary Form? 

When the measure begins with a weak pulse it is called 
the Secondary Form. What is it called? When is a meas- 
ure in the Secondary Form ? 

Three-pulse measure may next be practiced with the same 
process as that just given to the two-pulse measure, or it may be 
defered until later. 

I will now write a number of pulses on the blackboard 
and you may sing them as I direct. 

Teacher writes thus: 
TAA TAA TAA TAA TAA TAA TAA TAA 

You may sing them in two-pulse measure commencing 
with a strong pulse. 

Teacher indicates the time by a gentle tap of the pointer on 
each pulse. 

Again, commencing with a weak pulse. 

Teacher, if he chooses, may have them sung in three-pulse 
measure. 

You see that as the exercise now stands there is noth- 
ing on the board to tell us which are the strong and which 
are the weak pulses. In the Sol-fa notation an upright bar 
(|) shows that the pulse following it is to have the strong 
accent; the weak accent is indicated by two dots (:) and 
the Double Bar (||) shows the end. 



Teacher while he is making the above statement inserts the 
accent marks as follows: 

| TAA :TAA |TAA :TAA | TAA :TAA |TAA :TAA J| 

What does the bar indicate? 

How is the weak accent indicated ? 

What does the double bar show ? 

The accent marks are placed at equal distances of space 
and thus represent the equal divisions of time. 

The space from one accent mark to the next, strong or 
weak, represents the time of a pulse, and the space between 
the bars represents the time of a measure. 

What represents the time of a pulse ? 

What represents the time of a measure ? 

You may now sing the exercise as written. 

After it is sung correctly, at different rates of movement, 
the teacher will write an exercise, beginning with the weak pulse, 
thus: 

: TAA | TAA : TAA | TAA : TAA | TAA : TAA JTAA || 

Let this be practiced at different rates of movement from 
the teacher's patterns. Then eacli exercise should be sung to laa, 
teacher writing an " 1 " under each tan. Then erasing the '-Is " 
and putting a d in each pulse, sing doh. Then again with the 
following or similiar successions: 



TAA 
d 



:TAA 
d 



TAA : TAA 
s s 



I TAA 
I Pi 



: TAA 
m 



I TAA 
Id 



:TAA 
d 



Teacher will next erase the Sol-fa notes, leaving the taas. 

I will sing the exercise, and if I make a mistake, you 
may say wrong. 

Teacher sings it the first time correctly; second time with 
wrong accent, and the third time he makes a mistake in the sec- 
ond measure prolonging the tone through both pulses, at which 
the pupils will say "wrong. " 

Which measure was wrong? 

How many tones are indicated in the second measure? 

How many did I sing? 

Was it a long tone or a short tone ? How long was it ? 

Yes, I continued the tone through the second pulse-^. 
made it two pidses long. It is called a two-pulse tone. 
What is it called ? 

When a tone is continued from one pulse to the next 
the continuation is indicated by a horizontal line, thus, 
The time-namti for continuations is obtained by dropping 
the consonant, thus, TAA-AA. 

The teacher, as he makes these statements, changes the sec- 
ond and fourth measure so they appear thus: 

| TAA : TAA ( TAA : -AA | TAA : TAA j TAA : -AA JJ 



FIKST STEP 



Teacher pointing to the continuation mark, asks:-^ 

What does this horizontal line indicate? 

How are the time-names for Continuations obtained? 

How long must this tone be? 

What is the time-name of a two-pulse tone? 

A convenient short name for two-pulse tones is Twos. 
What will be a good short name for one-pulse tones? 

In the lesson now on the blackoard what kind of tones 
are required in the first and third measures? Ones. 



In the second and fourth? Twos. 

I will sing the lesson first and then you may try it. 

If the pupils fail to prolong the tones their full length, the 
vowel AI (as in "aid") may be added thus, | TAA-AI: -AA-AL 
When the lessou. has been suug correctly to the time-names and 
at different rates, it should be sungtolaa, the teacher indicating 
laa by an 1 under the time-names. 

Then he may change the measures so as to obtain the fol- 
lowing or similar rhythms. Each exercise should be sung 
several times to the time-names to laa and at different rates 
of speed. They may also be sung in tune, the teacher writing 
the Sol-fa letters under the time-names as has been already sug- 
gested. 



TAA TAA i TAA TAA I TAA -AA i TAA -AA 



SO. 

1 :- 



I 



:- II 



1 : 



31. 



1 :1 il 



TAA -A A I TAA TAA I TAA TAA I TAA -AA 

1 :- l :l l :l 1 :- 



3O. 



1 



1 :- I- : 



33. 



It is not important to dwell on the secondary forms of the measure or on three-pulse measure at this point. To practice three- 
pulse measure the teacher will write the following exercise on the board : 

| TAA : TAA : TAA | TAA : TAA : TAA | TAA : TAA : TAA | TAA : TAA : TAA | 

Let it be sung with clear accent to the time-names and to the laa; then the teacher will change the measures so as to obtain the 
following rhythms. Each exercise should be sung to the time-names, to laa, etc. 



33. 

TAA TAA 



34. 



TAA -AA -AA 

l : : 



TAA 



TAA 
1 



:1 



I : :l U : :l 11 :l :l 



3O. 



:l ,1 :l :l ,1 : 



14 



FIRST STEP. 



The pnpiit) are now prepared to take up the following les- 
sons. It will be observed that here is an abundance of exer- 
cises, but the teacher must not feel compelled to dwell upon all 
that are here given, he selects only such as his class may require. 
A bright, smart class may sing through all of these exercises to 
advantage, while u dull, slow class will positively need them. 

Two-part Singing 1 . It is at first very difficult for pu- 
pils to sing independently one of another. The simplest form 
of two-part sinking is that in which one divison of the class re- 
peatedly strikes the same tone ("tolls the bell"), while another 
divison sings the tune as in exercise 37. Each part should be 
sung seperately by all the class before singing the two together. 
These early exercises are best suited for those classes in which 
the voices are all of the same sort, that is, all men's voices, or else 



all woman's or children's voices. If, however, the class is a 
mixed one, the ladies may take one part and the gentlemen the 
other, or, better still, half the gentlemen and half the ladies may 
sing each part. As soon as an exercise is suug, it should be 
sung over again, exchanging the parts. 

The teacher wil' explain that Braces are used both at the be- 
ginning and endir of lines to show what parts of the music 
may be sung togetner. 

The teacher may explain that music is naturally divided in- 
to short portions or phrases. Just before beginning a phrase is, 
musically considered, the best place to take breath. Where words 
are sung, the breath must be taken with reference to the sense 
of the words. Mora on this subject in the following steps. 
The dagger (t) shows where breath may be taken. 



yy . KEY ] 

d :d 


). 

Pl :PI 


s :s 


t 

m : 


d 1 :d' 


s : PI 


s :s 


d 


d :d 


d :d 


d :d 


d :- 


d :d 


d :d 


d :d 


d 


3. KEY I 

I'd : m 


>. 

s : m 


s : n 


d 1 :- 


d 1 :s 


PI :s 


s : PI 


d 


d :d 


d :- 


m : PI 


m : 


n : PI 


PI :n 


d :d 


d 


30. KEY I 

d :- 


\ 

m : 


s ;s 


t 
PI : 


n : 


d :- - 


s : PI 


d 


d :d 


d :d 


n : PI 


d :- 


d :d 


PI :d 


S| : S| 


d 


4O. KEY ( 

d :d 


i 
m :m 


s :s 


d 1 :s 


d' :s 


t 
PI : 


PI :s 


d 


Great and 
Trees and 

d :d 


good is 
birda aud 

f* f\ 

*f, . u 


God our 
llow'rs de - 

m :m 


Fa - tli.r, 
clare Him 

PI : n 


Great and 
Great and 

n ! n 


good, 
good, 

d :- 


great and 
great and 

d ;PI 


good. 

good. 

d 


41. KEY D 

id' :s 

| Join in 


. Round for fo 

PI :d 

sing - ing 


ir parts. 

m :s 

Hal - le - 


d 1 :d' 

lu - jah ! 


X- 

s :s 

Hal - le - 


s :s 

lu - jah ! 


s :- 

A 


8 
men. 


Im 
r : . 


t 

PI : 

men, 


PI :P1 
Hal - le - 


PI :P1 

lu - jah ! 


d :n 

Hal - le - 


S I PI 
lu - jah ! 


d : 

A 


d 

men. 



When the first division reaches the note under the asterisk (*) the second division strikes in at the beginning; the third dm. 
Aon begins when the second nas reached the asterisk, and so on 





FIRST STE. 




4S. KEY D. | 

f d Id Id n In In d In Is d 1 I I d 1 Id 1 Id 1 s 


Is Is d 1 Is In d : 


( d Id 


Id d I I n In In n I I n In In F 


i I I n In In d I 


43. KEY C.- f f 

(Id Id Id n I I n In In si I s Is is d 


' Id' Id 1 s Is Is d I 


lid:- 


Id d I I d I Id n : I n I In p 


i I In n I In d I 


44. : 

p, 

( Now 


KEY G. Round in four parts. ^ 

d I Id 1 S| I IS| n I 

sing a - I loud, your voic 


In d I In 

es raise To 


II s 

( I jom 


In Id s In Id s t I 

in the cho - rus of grate 


Is, d I 

- ful praise. 



15 



Half-pulse Tones may now be taught, or if the teacher 
prefers, tuey may be transferee! to the next step. 

The following lesson may be written on the board, 
|1 :1 |1 :1 |1 :1 |1 :1 || 
and after it is sung correctly the teacher may say : 

I will sing the lesson and if I make a mistake you may 
say wrong. 

He may sing it correctly the first time; with wrong accent 
the second, and the third time he sings two tones in the first 
pulse of the second measure at which the pupils will say 
"wrong." 

Which measure was wrong ? 

Which pulse of that measure? 

How many tones are indicated in that pulse? 

How many did I sing ? 

Two tones sung in the time of one pulse are called 
Half-pulse Tones or Halves. 

What are they called ? 



The time-name of the first half is TAA of the second 
half TAI. What is the time-name of the first half? 
Second half? 

The sign for an equally divided pulse is a dot in the 
middle, thus, | . : 

The teacher changes the measures to obtain the following 
rhythms. They should be practiced carefully from the teacher's 
patterns to the time-names to laa, etc. 

The Finger Signs for time (TAA, TAATAI and TAA-AA) 
may be introduced here with good effect. These signs are gen- 
erally given with the left hand, to distinguish them .from the 
Hand Signs for Tune, which are chiefly given with the right. 
Of course the teacher may use his right hand if he finds it easier. 
The back of the hand is toward the pupils, and the thumb should 
not be seen, for we never divide a pulse into five equal parts. 
The time may be marked either by slight forward and backward 
movements of the hand, or by the right hand tapping the pulses 
on the top of the left or beating Time in the regular way close 

by. 

The Time Chart also affords a most excellent means for 
drilling a class in time. It is to Time what the modulator is to 
Tune. 



TAA 


TAA 


TAA 


-TAI 


TAA ITAA 




TAA 


ITAA 


1 


:1 


1 


.1 


11 ll 




:l 




1 


46. 


KEY D. 












TAA 


TAA 


TAA 


- TAI 


TAA 


TAA- 


TAI 


TAA - 


TAI 


TAA 


1 


11 


1 


.1 


:l 


1 


.1 


:l 


.1 


1 


d 


In 


S 


.S 


In 


S 


.s 


In 


.n 


d 


,d 


Is 


n 


.8 


Id 


n 


.d 


Is 


.n 


d 



16 



FIRST STEP. 



4/7. KEY F. 


TAA - TAI 


TAA 


TAA -TAI 


TAA 


TAA - TAI 


TAA - TAI 


TAA - TAI 


TAA M 


1 .1 


:1 


1 J 


:l 


i j n a 


1 J 11 || 


V 
















S| .d 


Id 


S| .d 


Id 


s .n ! 


s .n 


d .d I 


d II 


Taatai-ing in tune. By "taataing" is meant singing 
an exercise ^onoue tone; to the time-names, just as "Sol-fa-iug" is 


distinct conception of rhythm, it is useful to taatai each time- 
exercise on various tune-forms." 


singing to the Sol-fa syllables. Taataing in tune" is singing 
the<'.metothe time- names. Mr. Cunvensays, -'Laaitujon one tone 
helps to form that abslract idea of a rhythm which is desired. 
But such an idea is never truly established until the ear can rec- 


Alter the above time-exercises have been sung to the time- 
names and to la i, let them be sung to the tunes printed under 
each, and lastly let the tunes be sung to the time names. 


ognize a rhythm as the same, though all the various disguises 
which different tune-forms put upon it. To learn the abstract 


Exercises 48 to 52 introduce half-pulse tones in two-pulse 
measure. Each exercise should be taalaid on one tone to secure 


you must recognize it in many concretes * * * As a help to this 


correct rhythm. 


48. KEY D. 


(Id ,n In 


d .n In 


s Is 


n I 


n .s Is 


n .s Is 


d' Is 


d' I I! 


(|d Id 


d Id 


d ,n In 


d I- 


n In 


m In 


m ,s Is 


n I II 


-4O. KEY 


c. 


t 






(|d Id 


n Id 


s .s In .s 


d 1 I 


d 1 .s In ,s 


d 1 In 


s Is 


d I II 


-| 1 






t 










(Id Id .d 


d Id .d 


n ,n In ,n 


n In .n 


n In .n 


d Id .d 


n .n Is .s 


d :- 1 


r>O. KEY 


D. 








(Id .d Id .d 


n ,n In ,n 


s .n Id .n 


s I 


n ,n In .n 


S .8 IS .8 


d 1 .8 In .8 


d :- I! 


(|d .did .d 


d .d Id .d 


n ,n In ,n 


s I- 


d .d Id .d 


n ,n In .n 


n .n In ,n 


d :- 1 


51. KEY G. Round in four parts. 


* 




T. F. 8. 


(Id .d 

( 1 What a 


Id .d 

clat - ter ! 


d .d Id .d 

What's the mat - ter ! 


n ,n In .n 

John-ny's gone and 


n .n :n .n ) 

spilt the bat - ter ) 


(IS .8 I 


S .8 


S I 


l 


s Is, 


s :- 


|| 


( | On my nice new 


clothes, oh, dear! oh, 


dear! 


II 


S2. KEY G. Round in three parts. 


* 






(Id :d 

1 1 Roam-ing 


S| !S| 

o - ver 


n I 

mead 


d I- 

OW8, 


n In 

Sing - ing 


d Id 

ev - er 


s : 

gai 


n : ) 
iy J 


(|S S tS .8 

<|Tra la la la 


s Is 

la la. 


S| ,S| IS| ,S| 
Tra la la la 


s, is, n 

la la. 



FIRST STEP. 



17 



Modulator Voluntaries. Al every lesson the teacher 
should drill the class in following his pointing on the Modulator, 
without a pattern. This exercise is called a Voluntary. The pu- 
pils must be taught to follow promptly, and to hold the tones 
as long as the pointer stays on a note. The teacher must be 
careful not to vary from the "Step" at which the class is en- 
gaged; that is, in the first step he must use only the tones d n 
s d 1 s, ; in the second step he may use the tones d m s t r and 
their replicates, but not f and 1. The Step Modulators are recom- 
mended for the early work, as they prevent the teacher going 
out of the step in which fehe class is studying. The teacher 
must follow his own fancy in his voluntaries, taking care to 
adapt them to the capacity of his class, not to make them too 
difficult nor too easy, but progressive as his pupils gain facility. 
He should make them as beautiful and attractive as he can, in- 
troducing snatches of familiar tunes now and then; and above all 
things he must avoid falling into self-repeating habits, that is, 
constantly repeating favorite phrases which the pupils come to 
know by heart. The teacher is recommended to practice his vol- 
untaries at home ; write them down, if necessary, and commit 
them to memory. See the pamphlet, " Hints for Voluntaries." 

The Time Chart is intended to be used for time-volun- 
taries in the same way that the Modulator is used for tune-vol- 
untaries. 

The Hand-Signs, in connection with mental effects, are 
to be used at every lesson. The Finger-Signs for Time are also 
considered very useful for exercises in time. 

Mental Effects should be frequently reviewed, accom- 
panied with fresh illustrations. It is only in this way the impres- 
sion can be deepened. The perception of mental effect is at first 
very dim, but it is cumulative, and the more attention given to it 
the clearer and stronger it becomes. See pamphlet, "Studies in 
Mental Effects." 

Ear Exercises. At every lesson the teacher will exer- 
cise his class in naming the tones he sings. There are several 
ways in which this may be done. First way, teacher sings sev- 
eral tones to figures and requires the pupil to tell him to which 
figure or figures he sung s or PI, etc. Thus, "Tell me to which 
figure I sing s " 

Sings d n m s d or d d n d s m d or m d s PI, etc. 

12345 1234567 1234 

"Tell me to which figure I sing d"- 

Sings s m s d n or n s d n d s m, etc. 

12345 1234567 

The same process is given to other tones. Another way, the 
teacher sings the tones to laa and the pupils make the manual 
sign for the tone required. Again, the teacher gives the key- 
tone and chord and after a slight pause sings to laa, lo, loo, lai or 
any vowel either d n s d 1 or s, and requires the pupils to tell 
him what tone he sung, thus: 

|d : js :m |d : fs : || 

loo 

Again, the teacher sings to laa and the pupils name or give the 
hand signs for all the tones. Again, the teacher sings two or 
three or four or more tones to laa, as, d m d s, etc., which the pu- 
pils repeat after him, first to laa, then to the Sol-fa syllables. 
When the pupils can do this quite readily they will then be re- 



quired to simply give the names without singing the tonea 
The teacher may then sing to different vowels, as, 

s m s d 

le lo lai laa 

and the pupils give the names. 

In time ear-exercises the teacher sings two, three or four 
measures on one tone to laa, and requires the pupils to tell him the 
length of the tones in each measure, or they may Taatai or write 
what the teacher sings. Again the teacher sol-fas a short exer- 
cise which the pupils taatai in tune. It is a great advantage when 
the answers to these ear-exercises can be written by the piipils 
and afterward examined by the teacher or his assistants. The 
answers should come from all the pupils, not merely from a few. 
See pamphlet, "Hints for Ear Exercises." 

Writing Exercises. Notation is best taught by writing, 
and the thing noted is more quickly and easily practiced when 
the notation is clear and familiar to the mind. Hence the value 
of the writing exercises. The teacher instructs his pupils to draw 
on slate or paper four (or eight or sixteen) measures in the pri- 
mary (or secondary) form, thus: 

! : I : I : I : | etc., or : | : [ : | : | || 
and then dictates the notes to be written in each pulse, or he 
may write them on the blackboard for the pupils to copy. 

Dictation. The time-names furnish a means of dictating, 
by very brief orders, one pulse at a time, "Accent," "Time," 
and " Time " at once. The following example would be dictated 
thus: "Prepare four two-pulse measures, secondary form." 
"TAA soh-one," "TRA.\doh," "TAATAI me doh," "TEAA soft-one," 
" TAA doh, " " TRAATAI me doh, " " TAA soh, " " TKAA doh. " 

:s, d : m .d |s, : d m .d : s |d |j 

Pointing from Memory. At the close of each lesson 
the pupils thould take pride in showing their teacher how many 
of the previous exercises they can point on the Modulator and 
Sol-fa from memory. Musical memory should be cultivated 
from the first, because it will greatly facilitate the progress of 
the pupil in future steps, and will be of constant service in after 
life. To encourage this exercise the pupils should be provided 
with small modulators upon which they can practice pointing at 
home. Where it is feasible the whole class should be sup- 
plied with "Hand Modulators" and point and sing together, 
holding their modulators in such way that the teacher can over- 
look all. 

Writing from Memory. Pupils should also be well 
practiced in writing tunes from memory. Even where it is diffi- 
cult for a whole class to point on their modulators from memory 
at the same moment, so as to be seen by the teacher, it is not 
difficult to engage a whole class at the same moment in writing 
from memory the tunes they have learned. At the close of every 
lesson, one or two of the exercises should be chosen for the 
memory exercise of the next meeting. The pupil (at home) 
should copy that exercise six or ten times from the book, until 
he finds by testing himself that he can write it from memory. 

Keep within the Step. The teacher must fully under- 
stand that in all these exercises he must keep within the step at 
which the class is engaged. All the topics of the step should be 
mastered before the next step is entered. For instructions in 
Voice Training, Breathing, etc., belonging to this Step, the teacher 
will consult the Standard Course. 



FIRST STEP. 

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 

DOCTRINE. 



1. "What are the first three tones you have learned 

thus far 1 

2. Which of these is the lowest tone? The next 

higher '! The highest ? 

8. "Which is the more important, the relative po- 
sition of these tones or their mental effects.' 

4. What is the mental effect of Doh I Of Me? 

OfSoh? 

5. How are these mental effects represented to 

the eye ? 

6. Besidesthehand-signsand the modulator what 

other wav have we of indicating or writing 
the tones ? 

7. What letter represents Dohi Me? Snhl 

8. What is this method of musical notation called I 

9. What other tones have yon learned beside /></, 

me, guli ? 

10. What is the mental effect of one-doht 

11. What is its hand-sign? 

12. How is it indicated in the notation ? 



Wlurt is the mental effect of goh-one f 

What is its hand-sign? 

How is it iudicated in the notation? 

How is time in music measured ] 

How many kinds of accents have you learned? 

What is the time from one strong accent to the 

next strong accent called ? 
What is the time from any accent to the next 

called I 

Is there but one order of arrangment of ac- 
cents or may there be different arrange- 
ments; 

What do different arrangements of accents 
produce '. 

How main kinds of measure have you learned 
and what are they ! 

What is the order of accents in two-pulse 
measure/ Three-pulse measure? 

When is a measure in its primary form ? Sec- 
ondary I 



25. How is the strong accent indicated in the no 

tation ? The weak accent ? 

26. What represents the time of a pulse ? Of a 

measure ? 

27. What is the time-name of a one-pulse tone? 

28. How is the strong accent indicated in the time- 

names ? 

29. When a tone is continued from one pulse into 

the next, how is the continuation marked! 

30. How are the time-names lor continuations ob- 

tained ' 

31. When two tones are sung in the time of one 

pulso, what are they called ? 

32. What is the time-name of the first half of a 

pulse f The second? 

33. How are half-pulse tones indicated in the no- 

tation? 

34. How is the end of an exercise indicated? 



PRACTICE. 



85. Sing to laa the Soh to any Doh the teacher gives. 

36. Sing in the same manner the Koh-one. 

37. Sing in the same manner the ()ne-Doh. 

38. Sing in the same manner the Me, 

39. Sing in the same manner Soh to any One-Doh 

the teacher gives. 
40 Sing in the same manner the Mi'. 

41. Sing in the same manner the Doh. 

42. Taatai the upper part in one of the Exs. 48. 

49, or 50. 



43. Taatai in tune one of the Exs. 48, 49, or 50. but 

not the same as in the last requirement, 
chosen by the teacher. 

44. 1'oint on the modulator from memory any one 

of the Exs. 40, 41, 4J, 44, chosen by the 
teacher. 

4"). Write f ram memory another of these exercises. 

40. From any phrase (belonging to this step), sung 
to (inures, tell your tencher. or write down, 
which figure was sung to Me. 



47. Ditto Soft. 

48. Ditto Doh. 

49. Ditto Soh,. 

50. Having heard the chord, tell or write down 

which tone was sung to Inn 

51. Follow the teacber'M pointing on the modulator 

in a new voluntary, containing />o/i. Me, Soh, 
Doh 1 , and Soh,, TAA, TAA-AA and TAATAI. 

52. Write from dictation and afterwards sing a 

similar exercise. 



This tune properly belongs n the Third Step, but K imert il hero on :iccoiini ,if space. 


5ii. KEY F. ...NNIS. ^ M. NAEOELI. 


:P1 


Pi : d : ,n 


r :t, :r 


1 :- :d 


d :1, :d 


d :s, :d 


t, :- :r 


:d 


d :S| :d 


t| : s, : s, 


3; : is. 


1, : f, : 1, 


8, :m 


:s. 


s, : :t, 


.How 
Be - 


gen - - tie 
neath His 


Goii s com - 
watuli - - ful 


.nil ids, How 
vf His 


Kin. l His 
saints K'- - 


jire - - cepts 
cure - - ]y 


are ! Come, 
dwell; The 


3. His 


good - - ness 


stands ap - 


proved, Uu - 


changed from 


day to 


day; I'll 


:s 


s :PI :s 


s :r :f 


Pi : :PI 


f :d :f 


m :d : m 


r : :s 


:d 


d :- :d 


s, : - : s, 


d :- :d 


f, : :f, 


d :- :d 


8| : : S| 


r :t, :r 


d : PI :s 


s :r :f 


m :s :1 


s : m : f 


PI :d :r 


I-- 


t, : s, : s, 


8, : d : d 


t, :- :r 


d :- :d 


d :- :d 


d : s, : , 




cast your 
hand which 
drop niy 


bur - - dens 
bears all 
bur - - deu 


on the 
mi - ture 
at His 


Lord, And 
up. Shall 
feet, And 


trust His 
guard His 
bear a 


con - - slant 
chil - - dren 
song a - 




s :r :f 


n :s : PI 


r :s :s 


s :m :f 


Pi :s :1 


s :m :f 




8^ : :s, 


d :- :d 


BI : : S| 


d :- :d 


d : :f, 


8| : : s\ 


_ 



19 



SECOND STEP. 



In addition to the tones d, n, s, d 1 and S, to recognize and produce 
four-pulse and six-pulse measures. The whole-pulse silence, half -pulse 
tcnes in their simplest forms. 

To introduce Ray and Te the teacher may proceed somewhat 
as follows. After reviewing the tones already taught, and a short 
drill from the Modulator or hand-signs, he may say : 

Name the tones I sing and if I sing a different tone 
from those you have learned, one that is not d, m, or s, yon 
may say new (one. 

The teacher sings the tones to laa, pupils calling out " Doh," 
**Soh." and so on, and after keeping them a moment or two in 
expectation he sings Ray the second tone of the scale (of course, 
to laa), which the pupils :\i once detect as a new tone. 

Is the new tone higher or lower than Doh ? 
Is it higher or lower than Me ? 

If the answers are not prompt and correct the exercise must 
be repeated. 

The name of the new tone is Ray. 

He writes it on the board or shows it on the Modulator. 

As we have an upper Doh so also we can have an up- 
per Ray, and there is nlso an upper Me and an upper Soh. 
They are called one-Ray, one-He and one-Soh. 

He writes them on the board or shows them on 
the modulator. 

Name the tones again, tind if I sing atone 
you have not heard before, say new tone. 



Ray and Te. To distinguish and produce the medium accent and tht 
tone* in three-pulse measure, pulse-and-a-half tones and quarter-pulu 



The teacher next brings up in review the mental effects ot 
doh, me and soh, and then proceeds to develope the mental ef- 
fects of ray and te, somewhat as follows: 

Now give your attention to the mental effect of ray in 
the examples I shall sing, and notice first whether ray 
gives a feeling of rest, of satisfaction, or whether it is the 
reverse of that, is restless, expectant, unsatisfied. 

Teacher sings in any key suited to his voice, the following 
exercises, making a slight pause before the last tone. 

d 1 :s |m :s |d' :r' fr 1 : II 
All sing it. 

Are you satisfied to stop on that tone or do you ex- 
pect something else ? 

Listen again. 
Teacher sings. 



He sings the tones to laa as before, pupils calling 
out the names, and after a moment or two he sings 
Te. the seventh tone of the scale. He questions the 
class as to the position of the new tone, writes its 
name on the board or shows it on the modulator, and 
also its lower octave. See diagram. He then patterns 
iind points on the modulator such exercises as these 



r':t|s :d'ls 



d :m Is 



KEY C. 
: |s :t | 
KEY F. 
{jd :m |s :ro|S| :t, 

50. KEY A. 
d :m |d :s, |t, :r 



|r :t, ]s, :s |m :s |d : | 

4* a I /I M I m ft I J 

'. KEY F. 

s :n Id ;n|s :r |t,:r Is :n |s :s, |d : 

5. KEY D. 

In :d |n :s Jr :t| |r :s In :s [r :s Id : ] 



DOH 1 

TE 

SOH 
ME 

RAY 

DOH 

t, 

S| 



:s 



n :s 



All sing the same. 

Is that as satisfactory as the former or more so ? 

Listen again. 

Teacher sings. 

|d' :s |m :s |m' :r' Jr 1 : M 
All sing it. 
Satisfactory or expectant? 
Listen again. 
Teacher sings. 

|d" :s |m :s n 1 :r' fd 1 : || 
AH sing it. 
Satisfactory or expectant? 

You learn from these examples that ray is a restless, 
moving, expectant tone, that it leans upon doh or me. 
But listen again and notice whether it has a depressing, 
desponding, hopeless effect, or whether it is hopeful, rous- 
ing, animating. 

Teacher sings the following which the pupils may repeat. 

:s .d 1 [r 5 " rm'.r 1 |d' |] 



:s .d 1 



.t 



What is its effect, depressing and hopeless, or hopeful, 
rousing, animating? 



SECOND STEP. 



It will be well to sing the exercise again, substituting doh 
for ray, thus, 

;s .d 1 |d' :d' .t |d' :s .d 1 jd 1 rrn'.d 1 |d' || 

and again with ray as at first; this will produce a contrast that 
will make ray stand our very clearly. The following examples 
will illustrate the mental effect of te. The teacher may use them 
in Lis own way, to show that te is a restless tone, with an intense 
;o!igiii5 for doh, an urgent, sharp, sensitive piercing effect. 

|d :m |s :d' |t :- |d' : || 
:d' |s :m |r :t |t :- |d' || 

In the following exercise n and s ar.i substituted for t to 
produce a contrast. 

:d' |s :m |r :m |m : |d' || 

Sing it again with t and then as follows 



:s 



s 



: Id 1 



and finally with t as above. 



{I 
II 

II 



KEY F. Round for three parts. 

d :d In :r Id 

Af - ter I la - bor | we 

t 

n :r In Is 

lieve the I mind, ' And 



shall 

in 

our 



II 
.11 

II 
II 



00. 

s, Is, 


KEY 


G. 

d 


Round 

Id 


foi 

t 


four parts, 
s, Is, 


d Id 


Scotland 


's 


burn 


- ing, 




Scot-land's 


burn-ing; 


S I- 


t 
- 


s 





t 


S I 


t 
S I- 


Fire! 




Fire! 


Fire! 


Fire! 


01. 

d 


KEY 

:t, 


D. 


Hound 

d 


for three parts. 
I r 


Ir 


"Here 


i 




go, 




s 


are and 


* 


:t, 




d 




t 

I s 


.s Is 


down 


be - 


- 


low. 






Not so I, 



G2. KEY C. Round for four parts. 

s & In Is .s Ir 

Hur - ry now, I hur - ry now, 



d' 

NO, 



t 
no; 



The manual sign for the rousing, hopeful tone is this . 
All make it 

The sign for the sensitive, piercing tone is this , 
pointing up to doh, the tone to which it so strongly leans. 
All make it. 

The teacher now proceeds to drill the class thoroughly in 
the new tones by means of the modulator, hand-signs, ear-ex- 
ercises, etc., during which practice he will have the tones d n s 
sung together as a chord. 

This may be done by dividing the class into three sections, 
one section to sing doh., another me, and another soh. First let 
doh and soh be sung together, then doh and me; then me and 
soh, and then doh, me and soh all at once. The teacher will ex- 
plain that when tones are combined in this way, the combination 
is called a chord. This particular chord, formed of the tones of 
d n s is called the chord of DOH, or Tonic Chord. The 
chord of DOH may be taught in the first step, if the teacher 
prefers. The tones 8 1 r 1 should next be combined in the 
same way. They form the chord of SOH, or Dominant Chord. 
The class is now prepared to take up the study of the following 
exercises: 



d l^ 

find, 

d It, 

hearts to 



t* 

n 

Mu 



:n 



s 

will 



Is 

re 



Id IS, 

I geth - er 



d I 

bind. 



t * 




t 


t 


Ir I 

1 Look 


r 

I out, 


I Ir I n I 

1 Look 1 out; 


1 


t 




t 




It, Ir 


|d 


Id It, :r Id Id 


II 


1 Pour on 


1 wa 


ter, 1 pour on | wa - ter. 


II 




t 


A.L.C. 




|m I- 

1 slow," 




n Ir In Id 

Says the | tur - tie 


\ 




t 






Is .d 1 In 

| swiftly fly, " 


1 


8 .8 IS .8 Id 1 I 

Sings the bird on 1 high. 


1 






T. F. S. 




* 








In .n 

| Come a - 


Id 

long, 


Ir .s Is .s 

' Won't you hur ry? 


} 


Iff 

IWait 


Is 

a 


I s 

1 while. 


1 



SECOND STEP. 



Tuning' Exercises are designed for the purpose of teach- 
ing voices singing different parts to study one another, and to chord 
well together. To some extent this is done in every exercise, 
but it requires also separate study. The teacher, in these exer- 
cises endeavors to secure from the class a uniformly clear, soft 
tone making a signal to any one whose voice is so prominent 
as to stand out from the rest, and to maintain the perfect tun- 
ing into each other of all the parts of the chord. For some time 
the accord of the voices will be very rough and imperfect, but 
soft singing and listening will amend the fault. The exercises 
may be sung from the book, but a better plan is to sing them 
from the blackboard, as in this way a correct position of the 
pupil is secured, and the teacher can readily call the attention 
of all, in a moment, to auy point in the exercise. Ex. 63 may be 



sung as follows By three sections of women's voices, one sec- 
tion singing the first part, another the second and another the 
third. When moderately well done, the parts should be ex- 
changed, those who sang the first part taking the second, the 
second taking the third and the third the first. At the next 
change the same process is repeated. The exercise may then 
be sung in the same manner by three sections of men's 
voices. Boys whose voices have not changed will sing with the 
women. Again, let all the men sing the third part, and two 
sections of women take the first and second; again, all the women 
sing the first part, and the men in two sections taking the sec- 
ond and third. Ayain, all the women sing the second part, and 
the men in two sections the first and third, 

To be sung first to the sol-fa syllables, then to laa and to loo, 



03. 


KEYS F AND G. 


1st. d 





n :- 


2d. d 





n :- 


3d. d 





~~~ ~~~ 



TUNING EXERCISES. 



B :s 
PI in 
d :d 



m : 


s : 




d :- 


s : 


m 


d :- 


s : 


m 



m :s 
d :m 

d iS 



For the following exercises in four parts the class should be divided into four sections, two sections of ladies taking the two upper 
parts and two sections of gentlemen taking the two lower parts. This division of the voices must not be considered as a final classifi- 
cation into Soprano, Contralto, Tenor and Base. That will come later in the course. The top line is the Soprano (marked S), the 
next lower is the Contralto (C); the next below the Contralto is Tenor (T), and the lowest is the Base (B). 



O4. KEY C. 

Sing first as written. Second time, Soprano and Tenor change 
parts. Third time, Soprano and Contralto change parts, Contralto sing- 
ing d t , d instead of d t d . 



S. 


d : 


s :m 


C. 


d: 


s :m 


T. 


d: 


s :m 


B. 


d: 


s :m 



d : IPI : s : d 1 : d':t 



d :- 
d : 



s : 



PI :r 



s :s 



d 1 : 



PI : 



s : 



KEY F. 

First as written. Second time, Soprano take Tenor, Tenor take Con 
tralto, singing s instead of s,, Contralto take Soprano. Third Unit-, Sv 
prano and Contralto change parts, Soprano singing s instead of B,. 



d : 


s, :rn 


d : 


PI : 


s, : 


d : 


d :t, 


d : 


) d : ~ 


s, :m 


d : 


m : 


S| : 


: 


s, :s, 


s, : 


d : 


8| :m 


d : 


n : 


: 


: 


n :r 


PI : 


, d :- 


s, :n 


d :- 


: 


: 


: 


s, :s, 


d :-i 



GO. KEY C. 

First as written. Second time, Soprano and Tenor change parts. 
Third time, Soprano take Contralto Contralto take Tenor, singing t, in- 
stead of t Tenor take Soprano. 



d : 



d : n :d 



n :d s : 
PI :d 
m :d 



u 



r : 



s : 



S :s 


s : 


PI :r 


PI : 


d':t 


d 1 :- 


s :s 


d : 



OT'. KEY F. 

First as written. Second time, Soprano take Tenor Tenor take 
Contralto, singing s instead of s,. Contralto take Soprano. Third time 
Soprano and Contralto change parts, Soprano singing s instead of s,. 



d : PI :d 



PI :d 
m :d 



d : PI :d 



s, : 



r : 



s, : 



S| :S| 
m :r 
5, :s, 



Pi : 



d : 



22 



SECOND STEP. 



Breathing 1 Places. It was taught in Ihe first step tbat 
th best places to take breath, musically considered, are at the >e- 
ginning of tue musical phrases. But the stnse of the words i 1 ; of 
more importance thau musical phrasing. It frequently happens 
that the phrasing of the words and phrasing of Hie music do not 
agree. In such cases breath must be taken where it will not de- 
stroy the sense of the words. In the following example the mu- 
sical phrasing would allow a breath to be taken at ihe dagger (f), 
and this would suit the first verse; but it would not do for the sec- 
ond verse; and the breathing places neither ot the first i. or second 
verses would answer for the tliird. 



KEY G. 


t 




d :., .s, 


d :- 


.d 


r 


:t, 


d : 


1. Light of the 


world. 





Sav - 


iour 


dear ! 


2. Son of the 


Fa 


ther 


Lord 


most 


high. 


3. Je - sus is 


from 


the 


proud 


cou - 


cealed. 



To take breath before a strong pulse the time of the breath 
mu:.t be taken from the end of the previous weak pulse; to take 
breath before a weak pulse the time of it may be taken from the 
beginning of the same pulse. It is not only convenient but 
necessary to take breath before all long sustained tones or long 
connected phrases. 



It is recommended that before singing the words of a tune 
they should be studied separately. The teacher may read the 
portion ol words from one breathing place to another, which the 
pupils are to repeat after him and mark the breathing place with 
pencil. In this exercise particular attention should be given to 
pronunciation; the vowels should be clear and pure and the con- 
sonants sharp and distinct. 

Expression is such a use of loudncss and softness in sing- 
ing us tends to make the music more expressive. Even in the 
earliest steps, pupils enjoy thus embellishing their music. 
Here it is enough to draw attention occasionally to what is 
indeed the chief part of expression that which is suggested 
by the words. First there must be fixed the medium or normal 
degree of force proper to the general sentiment ot the piece, 
t'u'-n whatever words are printed in the common type are to be 
sinig with that appropriate medium force, whatever words are 
printed in SMALL CAPITALS are to be sung louder, and whatever 
words are printed in italics are to be sung more softly. Many 
of the pieces in this book are left to be marked by the pupils 
under the direction of the teacher. A single line drawn under 
the words by pen or pencil will indicate italics, and a double 
line small capitals. 



SWELL THE ANTHEM. 



OS. KKY O. 


JOPRANO. 


d :d 


d :si 


d :PI 


s : 


8 IS 


WTRALTO. 


s, :s. 


s, In, 


S| :d 


t, :- 


t, :t, 




1. Swell the 
2 Hark ! the 


an - them, 
voice of 


raise the 
na - ture 


song; 
sings, 


Prais - es 
Prais - es 


TENOR. 


n In 


m :d 


s :m 


r :- 


r Ir 


BASE. 


d :d 


d :d 


PI Id 


8, '- 


8, IS, 


d :d 


d :s. 


d in 


s ~~~ 


s :s 


si :s. 


s. In, 


S| :d 


t, :- 


t| It, 


Saints and 
Let us 


an - gels 
join the 


join to 
cho - ral 


sing, 
song, 


Prais - es 
And the 


n :n 


n :d 


s :PI 


r I 


r :r 


d :d 


d :d 


n :d 


s, :- 


s, :s. 



S 

d 

to 
to 

m 
d 



In 
Id 

our 
the 

Is 
Id 



s. In 
d Id 

to the 
grate - ful 

PI IS 

d Id 



r Id 

t, Id 

God be 
King of 

S I PI 
8, IS, 

r Ir 

d It, 

heav'n - ly 
tones pro 

S IS 

S, IS, 



t, I- 
S, I 

long; 
kings; 

r I 



d 
d 

King, 
long. 

PI 

d 



.t 

II 



ff OO. KEY F. 

S IS Is I Pi 

THY THE I ECH - OE8 



f 



ro In 

HEAR THKH 



in :r 

AN - 8WEB 



In 

WE 



m 
d Ir 

soft and 



S 

GO, 



PI 

low, 



m 
d 

as 



In 

we 



P 

d Ir 

Soft and 



go, 



n 

low, 



d 

as 



IPl 

we 



pp 

d Ir 

soft and 



is :- ) 

lf/0, ) 



n 

low. 



SECOND STEP. 



23 



The Slur in a horizontal line drawn under two or more notes and shows that one syllable of the words is to be sung to as 
many notes an are than connected. 



d Im Is 


d 1 


I Is 


s It 


Ir' d' I I 


d 1 Is Id 




d 1 is :m 


d id Im 


m 


c 

to 


s Ir Ir 


m I I 


m Im Im 




m Im Id 


I. Let us, dear 


broth - - ers, 


Cheer-ful - ly 


toil; 


Nev - er from 


la - bor, No, 


2. Rich is the 


treas - - ure 


Now to be 


won; 


Toil in full 




meas- nre Till 


m Is :d' 


S 


I Id 1 


t Ir It 


d' I I 


s Id' Is 




s Id' Is 


d Id Id 


d 


I Im 


S tS 


Is 


d I I- 


d Id Id 




d Id Id 


s Ir .'m 


d 


Im Is 


d 1 Is 


Id 1 


d 1 Is Im 


s Ir Im 




d I I 


f *i t| It| 


d 


t 


m Im Im 


m Im Id 


t| It, It 




d I- I 


j nev - ( r re 


coil, 


Nev - er from 


la - bor, No. 


nev - er re 




coil. 


( time shall be 


done 


Toil in full 


meas - ure Till 


time shall be 




(lone. 


f s Is Is 


m 





s Id 1 Is 


s Id 1 Is 


s Is Is 




m I I 


U :., :i, 


d 


% 


d Id Id 


d Id Id 


S| IS, IS, 




d I : 






LONGINGS. 




fl. KEY Eb. 






B. C. U. 


, m ,m Id .m 


s Im 


r .r Id .r m I 


m ,m id .m 


i d .d Id .d 


d Id 


t| ,t| Id ,t, d I 


d .d id .d 


i 1. Pur-er yet and 


pur - - er 


I woul 1 be in mind, 


Dear-er yet and 


(2. timer yet and 


calm - - er 


Tri - al bear, and pain, 


Sur - er yet and 


3. Quicker yet and 


quick - er 


Ev - er on - ward press, 


Firm-er yet and 


s .s Im .d 


m Is 


s .s Im .s s I 


s .s Im ,d 


d .d Id .d 


d Id 


s, ,s, Is, .s, d I- 


d ,d Id .d 


/ s Im 


r .r Im .r 


d I r .r It| .r 


s Ir y 


i d Id 


t) ,t. It, .t|. 


d I t, .t Is, .t. 


t, :t, 


j dear - - er 


Ev - 'ry du - ty 


find; Hop - ing still and 


trust - - ing 


< sur er 


Peace at last to 


gain; Buff -'ring still and 


do - - - ing 


j firm - - er 


Step as I pro- 


gress; . Oft these earn - est 


long - - ings, 


' m Is 


s .s Is .s 


m I s .s Ir .r 


r Is 


* d Id 


S| ,S| IS| ,S| 


d I- s, .s, is, .s, 


si :s t 


(j .m Id ,m 


s 


._ 


r .r 


It, .r 


s Ir 


m .m Ir .r 


d I 


d .d Id .d 


t, 


I 


t, ,t. 


Is, .ti 


t, It 


d .d It, .t 


d : 


, God with-otit a 


fear, 


Pa - tient-ly be - 


liev - - ing 


He will make all 


clear. 


/ To his will re - 


signed, 


And 1o 


God sub- 


du - - ing 


Heart, and will, 


anl 


mind. 


j Swell within my 


breast, 


Yet their in - ner 


mean - ing 


Ne'er can be 


ex - 


pressed. 


s .s Im .d 


r 


I 


S .S 


Ir .r 


r Is 


S .S IS .S 


m : 


d .d Id .d 


S| 


: 


S, .8, 


IS! ,S| 


8 t IS, 


d .d ;BI JE 


I 


d :- 



24 



SECOND STEP. 



The Medium Accent should now be explained. One 
or more of the following times may be sung by the teacher (to 
laa), first in two-pulse measure with every other accent strong and 
heavy, and then in four-pulse measure by changing every alter- 
nate strong accent into a medium. It may be well to let the pu- 
pils imitate the teacher's examples. 

:s, |d :d |m : m |r -d |r :m |r :d | m :r |d || 

|d :d |r :r [n :n |r :r |n :s 'f :n |r :r |d : || 
jn :B \t :s m :s r :s |n :s |f :r |d :t, |d : || 



Also the following, first in three-pulse measure, aa written, 
and then in six-pulse measure by changing every alternate strong 
accent into a medium. 

| m : :n | n : :d |r : :r |r : : |m :- :n |s : :f | 
|n : : |r :- : |d : : 1| or |s, :s, :s, |B, :s, :s, | 
!s, :d : r | m : : |r :r :r |r :r : d n : m : r |d : : 1| 

Also the following time-exercises may bo written on the black- 
board and sung first as written, and then with every other strong 
accent made medium. 



TWO-PULSE MEASURE. 
FOUR-PULSE MEASURE. 



:l 



:l 



:l 



:l 



THREE-PULSE MEASURE. 5 
SIX-PULSE MEASURE. 



:l 



:l 



:l 



When the pupils have distinguished the medium accent and 
cau produce it, the teacher will explain that the medium accent 
changes two two-pulse measures into a four-pulse measure, and 
two three-pulso measures into a six-pulse measure. In four-pulse 
measure tuo accents are arranged in the or<ler strong, weak, 
MEDIUM, ioefc(us in the words "mo-me/i-TA-n/," plan c-Ti-ry"). 
In six-pulso measure the accents are arranged in the on I- r strong, 
ice.dk, wfdk, MEDIUM, irfitk, weak (as in the words ''Spir-i'-u-Ai.-i- 
ty," im.-m'i-ta-miri-ty"). The medium accent is indicated in the 
notation by a short, thin bar. In the time-names the medium 
accent is indicated, when necessary (as in dictation exercises), by 
Ihe letter L, thus, TLAA, TLAATAI, etc. In Taatuiug, the L is not 



useful. The teacher must not expect too great a nicety of dis- 
tinction at first. The finer points both of time and tune require 
much practice. 

The following time-exercises may now be practiced from the 
teacher's pattern, first with the time-names and then to laa. 

It will be well in exercises 72 and 74 to sing each measure 
four times, as a separate exercise, before singing the four meas- 
ures continuously. In exercises 73 and 75 the portions marked 
off by the dagger (f) should be treated in the same way. Addi- 
tional time-exercises are obtained by Taataiug the rounds and 
tunes on one tone. 



TAA TAA 



TAA TAA 



TAA - AA 



TAA TAA 



1 : II : 



TAA - AA 



TAA - AA 



TAA 1 TAA - AA TAA TAA I TAA - AA 



TAA TAA TAA TAA TAA - AA- AA 



T' '<i. First slowly, boatinj; six times to the meamire, then quickly, beating twice. 



( | TAA TAA TAA TAA TAA TAA | TAA - AA - j 



AA TAA - AA - AA TAA TAA TAA TAA - AA TAA TAA -AA-AA-AA-AA-AA 



TAA TAA - AA TAA TAA TAA TAA TAA - AA - AA TAA - AA TAA TAA TAA TAA TAA - AA TAA I TAA -AA-AA-AA 



- 



SECOND STEP. 



25 



"yo. KEY Eb. Round in four parts. 



la I 


d 


Id 


Id 


r Ir |r 


:r 


n In 


In 


!i 


n 


s 


" 


. ! 


- : i 


1 When 


the 


pan 


- 


sies' 


pur - pie buds 


Came 


forth in 


ear 




y 


Spring, 


s : 


S 






S 


I 


S 




t it |t : 


t 


d> Is 


m 


Id 


s. 





- 1- 


' : - 1 


Na - 


ture 


from 




her 


sleep did wake 


To 


greet the 


bios - som - 


ing. 






1 


W7. KEY 


F. 


Round in four parts. 


















* 






















Is 


n 


In 


n Ir 


d Id 




d it, Id 


Is, |d 


Ir 


n In [n II 


' Now 


we 


are 


met, 


let 


mirth a 


- 


bound, And | let 


the 


catch 


and 


glee go round. II 


T8. 


KEY 


C. 


Round in 


four parts. 


















* 






















In I 


n 






r 









- 


d I 


m [s 









d' Id' 


|t .d Ir 


'.t 


d' 


Is 


S 


- II 


I Come, 


let's 


laugh, 


come, let's sing, 


Win - ter 


shall as merry 


be 


as 


Spring. II 


TO. 


KEY 


G. 


Round in 


four parts. 


















* 






















Id :d 


.d 


It, 


It 


d Id |S| 


I id j In .d r 


Is 


1 * s l 


S 


Is 


S 


- II 


' Come, 


merry 


men, 




the 


horn doth blow, 


Follow, follow me, 


and a - 


way 


we'll go. II 


HAPPY HOME. 


80. 


KEY 


C. 




























B. C. U. 


s Is 






n 


Is 






d 1 


|- 


- 


t 


Id' 


r 1 Is 


n 1 I- 




* 



r 


Ir' 


r 1 Is 


n in 


d 


in 






n 


- I" 


- 


r 


In 


s Is 


s I- 








s 


Is 


s Is 


Sing we 


now of 


home 


hap 


- py, hap - py 


home; 


Sing we 


now of 


d' Id 


[' 




S 


Id' 








- 


S 


Id' |t It 


d 1 I- 







t 


It 


|t It 


d Id 


Id 


Id 






d 


- 


- 


S 


Is 


SQ 
to 


d I- 


_^ 






s 


Is 


s Is 


r ( Ir 


i 




r 1 


Is 






n 1 


r' |d' t 


d 1 


J 


I 


t It |t I 


t 


d' 


Id' 


|d' Id' 


| s Is 






s 


Is 









s r 


i r 


n 


I 


I 


r Ir 


r I 


r 


n 


In 


n In 


\ hap - py 


home, of 


hap - 


py, hap - py 


home. 


Yes, with 
Love, that 


heart and 
bright-ens 


voice tin - 
ev - 'ry 


tir ing, 
pleas - ure, 


( 
























Bless -ings 


ev - 


er 


new in - 


vite us, 


























Love with 


last - 


ing 


bonds shall 


bind us, 


t It 


it 


It 






d' It |d' Is 


S 


I 


I 


s Is 


S I 


S 


S 


Is 


s Is 


s Is 






S 


Is 






S*Q a 
9 9 


Is 


d 


I 


I 


s Is 


S I 


S 


S 


Is 


s Is 


t :t 


It I 


t 


d' 


:d) 


d' id' 


t Id' 


|r' 


Is 


n 1 I - 


- I 


n'ln' 


r' Ii 


' 


d' I- 


__ 


r Ir 




r 


J 


r 


n 


In 


n In 


r In 


Is 


Is 


s I - 


- I 


s Is 


8*0 
a 




n I 


I 


We will 


join 


the 


strain in 


- spir-ing 


Sing-ing now of 


home, 




hap-py, hap - py 


home. 




Brings us more than 


gold - en 


treas-tm 


j 






















Joy and 


so - 


cial 


mirth de 


light us, 
























While the fleet-ing 


mo-mentsfind us, 
























s Is 




S 


Is 


S 




Is 


s Is 


s Id' 


It 


It 


d' I 


t 


d 1 Id' |t It 


d'l- 


1- :- 


8 IS 




S 


Is 


S 




Is 


s Is 


s Is 


Is 


Is 


d' I |- 


- I 


d 1 Id' |s Is 


d I- 


1- :- 



26 



SECOND STEP. 



il 



SI. KEY C. Round in two parts. 

<* :d :d |m in m IB :- :- |d' :- :~ it it it |r' :r' :r' 

Mer-n-lv, mer.ri-ly I dano - - . ing, I Mor-ri - ly, mer-ri - ly 

Hm:n in |d :d :d In :- :- | n :- :- | s : 8 :s |t :t :t 

omethebrightrayHof the I mom --ing, | Mil-ing all heartswithde - 
*x. KEY G. Kound in two parts. 

m:m :m | r :r ; r Is : 8 : s |m :- :- id :d :d jt, :t, :t, 

Cheerlul-neHH com-eth of I in - no - cent song, I Lot us then sing Is J 



d' : 

glanc 



ing, 



; -} 



d 1 :- 

light. 



II 

1! 
il 



jour-ney 



KEY D. Round in four pa- ts. 

d:d :d |d :d :d |m:--r |d :- : 

-ly, mer-ri - ]y I sound the horn; 



:s, |d :- 

a - long. 



m :m :m jm :n :n 

Cheer-i - ly, cheer-i - l y 



s :- : s |s :- : s | B : 

^ ring now I loud 



< t. KEY G. 

I T I .'m .'PI n :m :n 

d :d :d |d :d :d 

t Bonnd-ing so mer-ri - ly 

i. Pleasure comes not for to - 

s :s :s |s :s :s 

d :d :d |d :d :d 



n in :PI |PI ;m ; m 
d :d :d |d :d :d 

Roaming thro' woodland and 

I* S. While thro' each rocky sur - 
Fling to the winds ev-r'y 
D. 8. Na-ture pre-pares a col- 

s :s :s s :s :s 
d :d :d |d :d :d 



d :d :d 



O - ver the val - ley re - 
Joy comes with each in - spir 

Id :d :d 



:s |s : :- id 1 : : | s : :_ 

'"Hi long; lou W ard, 

BOUNDING SO MERRILY ONWARD. 



S : :__ | n : _ 
d :- : |d :- 

n - - ward, 



m : : 
d : : 



row, 
S 

d 



mead 
round 



r Sr : 

si :s, : 



js, :s, : 8 , 



n : : 
d : :- 

ow, 

"Iff, 

row, 

la tion, 

n : : s : : 
d :- :_ |d :- :_ 



sound 



r 'r :r |r :d :r 

ti :t, :t, |t, :d :t, 

Happy, light-heart, d and 
Let us en - joy it to - 

s :s :s |s :m :s 



T :r |r :PI :r 

Glad mer-ry hunters are 
Ech-0 our notes will pro - 
While thro' the woodlands we 
>one but her lov - era can 

8 *s :s |s :s :s 



|s :- 

ward. 



Arr. from H. R. PALMER. 



d : 

free ; 



d :-:-|-:-:_ 

FINE. 

d :- :- I-:- :- 

we; 



stray; 
know. 

m :- :- |- : _ : _ 
d : : |_ :_ ; __ 



ing, 
tion, 



d :d :d r :r :r 

si .'S| :si |s, :s, :s. 

Fling WP our glad hap -py 

Paint-ing tlio ch.-eks with a 

d :d :d t :t 



n : I:- . 
s, :- :- |_ :_ : _ 

song, 
glow; 

d :- : J- - :- ._ 



D. S. 



SECOND STEP. 



27 



Silent Pulse. The following exercises include the prac- 
tice of tiie one-pulse silence. The teacher mav explain this in 
his own way. A very good way is th a whicj. two-pulse tones, 
and half -pulse tones were taught in tne first step that is, by 
anging a simple iime-ex< rcise and making a mistake, passing 
ofer a, pulse iu silence, the pupils culling out, wrong, etc. The 
time-name of a silent pulse is SAA, and to further distinguish 
the silence names they are printed in italics. In taataiug, the 
silent pulses are to be passed in a whisper that is, the time- 



name SAA is to be whispered. Some teachers prefer the name 
| TAAJ placed in brackets or printed in italics, Taa, and sung in 
a whisper. The teacher must not allow the pupils to exaggerate 
the hissing sound of the S. The silent pulses may at first be 
passed in a whisper, but they should finally be done in absolute 
silence, the pupils being told to close the lips firmly and Hank 
the name. The following exercises should be Ttaied and /act- 
ed on one tone and then taataid in tune: 



KEY 



(I TAA 


JTAA 


TAA 


ISAA 


TAA :TAA TAA ISAA TA\ ISAA 


TAA ISAA 


TAA :TAA 


TAA ISAA 


(L 


:d 


d 






m :PI m : s : 


s 


; 


PI IS 


d' : 




we 


sing, 




now we rest; Sing, 


rest, 


do your 


best. 


SO .KEY A. 


* 






d 


: 


S| 






d IS| d I d Id 


t| 


:t| 


d :t. 


d : 


March, 




march, 


march a - long, Brave - ly 


for - ward 


all day 


long. 


&7. 


KEY F. 


* 






d :d 


SAA 


ISAA 


PI I PI I S I 


PI 


; 


:s, .8, 


d : | 


On - ward, 




Up - ward, March, 


march, 


forvvard 


march. 


SS 


3. KEY G. 


Round in four parts. * 




U. 


d 


: 


S| 





a :s, a : a :d 


t, 


:t| 


d :t, 


d : 


March, 




march, 


march a - way, Who are 


read - y 


for tlie 


fray; 


n In 


r 


:r 


PI :r m : s :s 


S 


:s 


s, :s. 


IB 1 


Fal - 


ter not 


for foe - man's ire, Now make read - y, aim and 


shoot. I 


SO. KEY C. Round in two Darts. * 


T. F. S. 


s :d 





s :c 


L t 


t it :t d 1 : : Is :m :d 


S 


:m :d 


r :r :r | n : : II 


Cuc-koo 


cuc-koo, 


list to the song; ' Sweetly it 


floats o'er the 


Qieadows a - | long. L 


f OO. KEY C. 


m p 


PP 




:d' 


t : 


it fd 1 : :d' ' t : 




it 


d : 






WHO'S 


THEBE? 


I'm sure 1 heard 


a 


sound ; 






m 


P PP 




f 






Is 


s : :d |d : :s js : 


:d 


n IB 




Don't speak, keep still, hush, hush, O 


YES, 'TIS 


. 


d' |d' 


. 


:d , | d , . ; d , 


r 1 It d 1 I 


- II 


AH YES, 


who sing this 


lit - tie song. 




d 1 : 




:d' 


s : is PI IPI 


r IB d : 


1- 


WE 




who sing, who sing this 


lit - tie song. 


V 



28 



SECOND STEP. 



SWEET EVENING HOUR. 



01. 


KEY 


F. 




P 








m 


p A. L. COWLBT. 


n I 


|d in 


r 





I 




s I 


r Is 


n : \ : 


i Id d Id 


d I- 




s. Id 


t. :- 




; 




t, I- |s, It, 


d : : 


i Id d Id 


1. Sweet 


even - ing 


hour, 








Sweet even -ing hour, 


Sun - set's gold - en 


2. Calm 


even - 


ing 


hour, 








Calm even - ing hour, 


Shades of night are 


S I 




n Is 


s I 




. j 




r I 


8 18 


Q . 

8 


TO In n In 


\ d I- 


|d Id 


s, I- 


- 


' : 




BI ! IB, Is, 


d 
t - ^ 


: 1 : 


=: 












- 








m 






r '. 




r 


I- 




n I- "|d 


In 


r : 


Is 


n Ir |d : 


: | :d i 


t, :- 


It, I- 


d I- 


a. 


Id 




ti :- 


: 


: in i 


Id |t. Id 


glo 


. 


r 


y 




Fades 


in 


the 


west, And now once more his ] 


a - bor o'er, The 


steal - 


- ing 


O'er 


vale and 


hill, The flow - ere close, the 1 


>irds re - pose, All 


s : 




S 


I- 




S I- 


n 


Is 




S I 


; 


; ; 


I | In 









: 




d I- |d 


Id 




8, I 


: 


s : 


i | :d ' 






















p ^^ 




n I- 


m 


I 
I 


r 


d 


I 


I 




s 


: 


r Is 


n I 


ft 

X "" 


n Ir 


d :- l- : 


d I- 


d 




ti 


d 


I 


- I 




t, I- 


It, It, 


d I 


i t, I |t| It, 


d i- |- : 


toi - - 


ler 


may 


rest. 


Sweet 


evening 


hour, 


Sweet evening 


hour. 


na - - 


ture is 


still 






Calm 


evening 


hour, 


Calm evening 


hour. 


8 I 


S 




S 


n 





- I 






i 

i 


I 


: 


o 

o 


s Is 


n I- |- : 


Id I- |s, 


Is, 


d 




; 






i 


1 : 


d I 


n Id s, : 


BI IB, 


A I 
u ~ 


Sweet evening, 


Calm evening, 


OVER THE SNOW. 


OS. 


KEY E. 


R. S. TAYLOR. 


d Id Id 


n 


n 


In 


s Is 


< 
i 


8 


n 


: : 


r Ir 


r o 

r o ^~~ 


r :r 


Ir s : I 


d Id Id 


Id 


d 


Id 


n In I 


n 


d 


; ; 


t, !t. 


It, |t, I I 


t, It 


It, t, I 


1. O-ver 


the 


o - 


cean of 


bright sparkling snow, 


Mer-ri - 


ly O, 


mer-ri 


- ly O; 


2. Under 


a 




can - 


o - 


py 


gemmed with the light, 


Mer-ri - 


ly 0, 


mer-ri 


- ly O; 


3. Mingling our singing 


with 


jingling 


of 


bells, 


Mer-ri - 


ly 0, 


iner-ri 


- ly O; 


n In I 


m 




S 


S 


Is 


d 1 Id 1 I 


d' 


S 


; ; 


s Is 


Is r I I- 


8 IS 


Is r I 2 


d Id I 


d 


|d Id 


Id 


d Id 






d |d I I- 


8, IS, 


Is, |s, I I 


8, IS, 


is, |s, ; : 


/ d Id Id 


n I 


n In 


s I- 


- Is 


n 





r Ir 


Ir B Is Is 


d :- 


-:(-:: \ 


1 d Id : 


d 


Id I 


d Id 


n I- 


- j 


n 


d 


; ; 


t, It, It, t, It, It, 


d i- 




i Swift as 


B 




bird 


in 


its 


flight 




we 


go, 




Mer-ri - 


ly, mer-ri - ly 


o. 


/ 


(Speed we a - 


way 


on 


our 


path 


. 


way 


bright, 


Mer-ri - 


ly, mer-ri - ly 


0. 


J 


O - ver 


the 


val - 


ley 


our 


mu 


sic 


swells, 


Mer-ri - 


ly, mer-ri - ly 


o. 


f 


n In In 


8 IS IS 


d 1 :- 


. 
*" i 


d 1 


8 


i * 


s Is Is r Ir Ir 


n : 


: :- s j 


d Id Id 


d I 


d Id 


d :- 





d |d : :- 


B| *B, 


!S| |s. Is, Is. 


d :- 





SECOND STEP. 



29 



CPOKUS. 



7 

S 


s 


8 


8 


S 


s 


s 


_ 


|d' - 


ro Iro :ro 


ro :ro !ro 


ro 




- 


8 


^^ 


1 


ro 


ro 


ro 


ro 


ro 


ro 


ro 










d :d :d |d :d :d 


d 








ro 







< Mer 


-ri- 


y. 


mer 


- ri - 


y 


o, 








Mer - ri - ly, 




mer 


ri- ly 


0; 




-i^ 


















. 








s :s :s 




s is Is 


8 








\ d 


d 


d 


d 


d 


d 


d 








- 


d :d :d 


d 


:d :d 


d 



















































D. S. 















ro 


ro 


ro 


ro 

j 


r :r :r 




s 


' *a 

iO .9 


d 



























Swi 


t - 1 


u 

we go 


Mer -ri- 


ly, 


mer - ri - ly 


0. 
































ff *<l *S 
O .3 .0 




r 


r :r 


ro 















d 


d 


d 


d 


















Si :si :si 


Is, : 


s, :s. 


d 













O - ver the snow, 














STILL LIKE DEW. 

















>i $. 


KEY 


F. 


B.C. 


UNSELD. 


ro .ro Iro 


:d 


ro .ro 


18 


:ro 


r a* :r jr :d .r 


ro 













ro .ro ;ro 


:d 


d .d :d 


*S| 


d.d 


:ro 


:d 


t| .t, :t| ,t| :d .t| 


d 












d .d :d :s, 


1, Still like dew in 
2. Day and night the 


silence fall 
spell hange 


- ing, 
o'er me, 


Drops for thee, the nightly 
Here for-ev-er fix'd thou 


tear, 
art, 


Still that voice, the 
As thy form first 


S .8 


is 




:ro 


S .8 


is 


:s 


S .8 IS .8 IS .8 


S 


< 










S .8 IS 




:ro 


d .d :d 


:d ( 


l.d 


:d 


:d 


s, .s, Is, .s, :ro,.s, 


d 


j 


- 




d.d :d 


:d 


ro.ro 


Is 


:ro 


r .r lr j : ro j* 


d 


I I 


i* 

i . 


* 




s : 


. 
. 


ro 


~~" 






d.d 


:ro 


:d 


t|.t| :t| . 


fci :t 


.In 
"1 


d 


i : 


t, :- 


. 




t, :- 


. 
* 


d 






t 



past recall - ing, 


Dwells like echo on my 


ear, 




Still, 






still, 




still. 






shone before me, 


So 'tis graven on this 


heart, 


Deep, 






deep, 




deep. 






8.8 


:s 


IB 




S .S S .S D o 


ro 


: : 


s : 







s : 


. 
. 


8 



" 


: 


d.d 


:d 


:d 


S ,S| lS\ . 


3| :s 


.s, 


d 


: : 


s, :- 


. 




si : 


. 
. 


d 


: 





ff G 


<4r 


KEY 


c. 






pp 














(Id 1 


:s 




ro is 


d' 


:t 


d 1 : 


d :r 




ro 


:r 


ro :i 


d 


:- II 


( | LOUD AND 


STEONG THE 


STOBM-WINDS 


BLOW, 


Soft and 




sweet the 


breez - es 


flow. H 


pp O5. 


KEY 


G. 






ff 














ll d 

\\Soft 


:d 

and 




si :BI 

sweet the 


d :t 

breez - es 


d : 

flow, 


ro :ro 

LOUD AND 




s :ro 

STEONG THE 


d :r 

STOEM - WINDS 


d :~ i 

BLOW. II 


Pulse and half tones may be taught as follows. The 


And when they are sung correctly he changes the second one to 


eacher writes the following exercises on the board: 


TAA - AA TAI TAA 


TAA 


TAA - AA TAI TAA 


TAA 
















11 :- 


.1 


11 


tl 


11 :- .1 


1 


:i II 


TAA 


TAAT 


U TAJ 


L TAA TAA 


T 


AATAJ TAA 


TAA 


1 




I 




1 




Jl 


11 






:1 jl 




1 .1 |1 


. , 11 and explains that in the first and third measure the tones are to 
be continued from the first pulse into the first half of the sec- 


tti 


TAATAI TAA TAA TAA 


TAATAI TAA 


TAA 


x ond, making the tone a pulse and a half long. The exercise is 
then to be taataid and laa-ed from the teacher's pattern. Tbe 


U 


tl .1 11 


:) [I 


: 


L .1 [1 


:l 11 


two exercises may then be sung alternately. 







30 



SECOND STEP. 



The following exercises are to be taataid and laaed on one tone and taataid in tune: 
OO, KEY G. 



TAA TAA TAI TAA TAA 


TAA - AA TAI TAA TAA 


TAA - AA TAI TAA - AA TAI 


TAA TAI TAA TAI TAA - AA 


1 :l J i :l 


1 I" .1 1 II 


1 :- a 1 :- a 


1 a :l ' J 1 : 


d Id .r PI IPI 


d I- ,r PI :n 


PI I- .r PI I- j 


n jld ,t d : 


&?. KEY D. 


1 :- J 1 il 


1 II .1 |1 I- 


i :- a i a n a 


l =1 11 :- II 


n :- j d : m 


s IPI .s |d s I 


t I- .t d'.s IPI .d 


PI ir |d : 1 


OS. KEY F. 


TAA - - AA TAI TAA 


TAA TAA TAA 


TAA - AA TAI TAA TAI 


TAA -AA SAA ii 


i i- a ii 


1 II II 


i i- a :i a 


l i : 


d I- j IPI 


s IPI id 


t| I- .d In j 


d :- : 


OO. KEY G. 


n j i :- .1 :i a i :i n a i i- a :i a i : n 


Id j n I- .r Id ,t| d IS| IS| ,d t| I- ,t| Id j d : 


1OO. KEY F. Round for three parts. . U. 


{ S I- .S S I- ,S PI ,r Id .t| 


d n I- .PI n :- j 


1 Sing we now a mer-ry, mer-ry 


lay, Let us all be 


Id .t. Id .r m ! d Id 


d Id BI IS| d : 1 


1 hap-py while we niay, As we 


jour - ney on our way. 1 


A. S. KIEFFER. GENTLE SPRING IS HERE AGAIN. 


1O1. KEY G. B. C. UNSELD. 


S| I- .S, d Id 


r Id j n I 


S I- .8 S IPI 


r :- d : 


Pl| I- ,P1||S| Id 


t. Id .t, d :- 


d I- .d |d Id 


t, :- |d : 


1. Gen - tie spring is 


here a - gain, 


Bring - ing mirth and 


glad - - - ness; 


2. Years a - go her 


yen - tie voice, 


Filled my heart with 


pleasure - - ure, 


3. All a - lone she 


calm - ly sleeps, 


Un - der-neath the 


wil ... low; 


d I- .d PI In 


s Is s I 


PI I- .PI PI IS 


s I n S 


d I- .d d Id 


S| Ini.8| d I 


d I- .d d Id 


s, :- jd : 


s, I- ,s, d Id 


r Id .r n I 's I- .8 s IPI 


r I )d : 


1 Pi| i- ,Pi| S| id 


t, Id .t, d I- 


d I- .d d Id 


t, :- d : . 


i And the sing - ing 


birds have come. 


Chas - ing gloom and 


sad - - - ness, 


JAnd life's lot was 


fill of joy, 


With this sin - gle 


treas - - - ure; 


And the hare - bells 


mute - ly weep. 


Tears up - on her 


pil - - low; 


d :- .d PI IPI 


s is s : 


n I ,n n Is 


s I m : 


d :- .d |d id 


S| 5mi.S| |d I 


d i- .d d :d 


s, : |d : 



SECOND STEP. 



8| 



r :- 


j |r :r 


t, Id 


i r 
l r 


A. ._ 


ti |t| Jt| 


S| III, 


Is, I 


But 
But 
But 


my heart is 
no joy earth 
her face still 


sad and 
now can 
bright - ly 


lone, 
give, 
beams, 


r :- 


.r r :r 


r :d 


I tj * 


s, :- 


.8) ]S| IS| 


S| IS| 


Is, :- 



PI 



:- ,pi|n :n 



Though the win - try 

Tempt - ing with the 

Com - - ing to me 

d :- .d |d :d 

d :- ,d |d :d 



d !r in :- 

s, :s, |s, :- 

days have flown, 

wish to live, 

in my dreams 

d :t, |d :- 

HI IS| |d I- 



s k i- S| |d :d 

pii I .Pi||S| Id 

For I miss the 

And I lin - ger 

Like an an - gel's 

d t- ,d | PI I PI 
Id 



d :- .d |d 



r 


Id .r 


In 


ti 


Id .t, 


Id 


lov - 


ing 


tone, 


but 


to grieve 


still 


it seems 


S 


Is 


S 


S| 


Im, .s, 


d 



S I- .8 


s in 


d I- .d 


d Id 


Which could bring it 
For the dear lost 
Bend - ing o'er my 


PI I- .PI 


PI Is 


d I- ,d|d Id 



IPI 


r I 


|d 


Id 


t, :- 


Id 


it 


glad - - - 


ness. 


lost 


treas - - - 


ure. 


my 


pil 


low. 


Is 


S I 


PI 


Id 


s, I- 


Id 



BANISH SORROW. 



^O2. KEY E. B. C. TJ. 


; u ** - 


PI I- .PI Id .PI 


S IPI I PI . PI 


r i- .r Is ,r 


PI I Im .m 


m i- .PI Id .PI \ 


u ,U 


d i- .d id .d 


d Id id .d 


^ i- ,t| :t| ,t| 


d I Id .d 


d I- .d id .d ) 


1 Ban ish 
\'l lli-re's a 
,3 Join we, 


all desponding 
hand for ev - 'ry 
then, in bravest 


sor - row, Tho' the 
broth - er. Working 
cho - rus, Sing-ing 


skies may frown to- 
stout - ly, climbing 
all our pains to 


day; Shall not 
slow, Here's a 
rest While tlit 


sun - shine with to-f 
will to help each) 
heav'n gleams kind-lyi 


Is .s 


S I- .8 I PI .8 


PI IS IS .8 


s I- .s ir ,s 


s I is ,s 


S I- .8 IPI .8 J 





d I- .d Id .d 


d Id ijl .d 


S, I- .S, IS, .8, 


d I id .d 


d i- .d id .d ' 


s In I PI .PI 


r :- .s Is .t, 


d I IPI .PI 


r i- ,t| id .r 


PI Id Im .PI 


d id Id .d 


j. j. ,j 


S| : Id .d 


t 


i- .8, iS, ,t. 


d id id .d 


mor - row, O'er its 
oth - - er, In the 
(o'er us, Light and 


a - - - - zure beauty 
doubt we all must 
joy shall make us 


play ? Life must 
know. Hopes are 
blest. Strength shall 


bring its toils and 
cheered and loads are 
stoop to lift the 


trou - bles, But the 
light - ened By the 
weak - est, Love the 


PI Is Is .s 


s :- .s Ir .r 


PI I is .s 


s I- .r Is ,s 


s in Is .s 


d id Id .d 


S| I- .8) iS| ,S| 


d i Id .d 


S| I- .S, iPl,.S, 


d id id .d 



r I- ,ti id .r 

tj :- ,s, iS| .t, 

heart that fears and 
mag - ic of a 
low - liest gjief shall 

S I- ^ IS 

81 ;- .si : 



n I 


In .n 


n 


i- .n Id .n 


s 


d :- 


id.d 


d 


i- ,d Id .d 


d 


faints, 
word, 
see, 


Makes the 
Dusk - y 
Pride no 


heavy 
day 
more 


- y bur-den 
by smiles are 
shall spurn the 


<i< 
br 

in 


s : 


S S 


S i 


- .s In ,s 


n 


d : 


!d.d 


d : 


- .d Id .d 


d 



s in In .m 


r i- .s is .tj 


d : 


d Id Id .d 


t| I .t, It, .S, 


s, i 


dou - ble, Heap-ing 
bright eued, Ere the 
meek -est; Broth-ers 


care with vain corn- 
friend - ly tone is 
firm and true are 


plaints, 
heard, 
we. 


n Is is .s 


S*_ o *r r 
.0 .1 ti 


n : 


d id id .d 


si :- j3, is, .s, 


d ; 



SECOND STEP. 



Quarter-pills*? tones are to be taught next. The method 
for doing this need not be described the same process pursued 
with half-pulse tones may be used or they may be taught at once 
by pattern from the Time Chart or Finger-signs or from the ex- 
ercises below. They are named tnfatefe. They are indicated 



1O3. KEYS C, G. 



in the notation by a comma in the middle of each half-pulae. 
thus, ,1,1 .1 4 : 
fa fa tefe 

Exercises to be taataid and laa-ed and taataid in tune: 



TAA TAI ta - fa - te - fe 

i a n ,1 a .1 


TAA TAI TAA 

i a :i 


ta - fa - te - fe TAA TAI 

i ,1 a ,1 ;i a 


ta-fa-te-fe TAA 
1 ,1 .1 ,1 11 ( 


d .d In ,n ,ro ,n 
Id ,t| Id ,r .n ,r 


d .n Is 

d .t. Id 


s ,s .s ,s :m .s 
r ,d .t| ,d Ir j 


s ,s .s ,s Id 1 
n ,r .d ,r In , 


ta - fa - te - fe TAA TAI 

i ,1 a ,1 ;i a 


ta-fn - te - fe TAA 
1 ,1 .1 ,1 11 


ta-fa-te-fe ta-fa - te-fe 
1 ,1 .1 ,1 11 ,1 J ,1 


TAA TAI TAA 
1 J 11 


d 1 ,d' .d 1 ,d' It .t 


d 1 ,d' .d 1 ,d' Is 


s ,s ,s In ,n ,n .m 


s .t id 


n ,r ,d ,t| Id ,s\ 


d ,t| .d ,r In 


n ,r .d ,r In ,r .d ,r 


d .t, Id 



(id :d 

( 1 One, two, 



. KEY G. Round in three parts. * 

d Id It, .t, :t, d .d id In In 

three, four, I keep the time, keep the time, I One, two, 



A. L. 0. 



II 
II 



Is ,s & 


,s Is 


.n 


Id 


.n 


Is 


JS, ,S| ,S, 


S| IS| 


S| 


Id 


|Tra la la 


la la 


la 


la 


la 


la, 


1 Tra la la 


la la 


la 


la 


1CK5 


. KEY D. 


Round 


in three parts. 


d 


Id 


.d 


|r 




Ir j 


in 


:r 




Id 


Come 


with 


the 


reap 


- 


era this 


1 sun 


ny 




morn, 


* 




















n 


In 




Is 




Is 


Is .s 


Is 


J 


In 


Hear 


them 




sing 




a 


1 mong the 


yel 


- low 


com, 



|n In ir j* Is |n .n In ) 

, three, four, | Voices chime, voices chime, ) 

: - I 

'- \ 



(IS ,S .S ,8 IS 
( |Merri - ly they sing, 



\t ,t .t .t It 
mer-ri - ly they sing, 



d,d'.d',d'Id l .t |d 

Tra hi In Li la la la. 



1OO. KEY F. Round in four parts. 
d ,d .d ,d :m .m Ir .r :m 

Mer-ri - ly the bells " are | ring - iug near; 



II 



s ,s .s ,s Is js 

Listen to the bells! how 



s ,s .s ,s :s 

merri ly they ring! 



In ,n .n ,n Is js 

I Cheeri-ly the birds are 

Id ,d .d ,d Id .d 
Listen to the birds ! how 



t, .t, Id 

sing - ing here. 

S| ,S| ,S| ,8 id 
cheeri-ly they sing. 



U. 



SECOND STEP. 



A. S. KIEFFEB. LOVELY MAY. 


1OT. KEY C. B. C. UNSELD. 


s .s :s 


s ,s .s ,s is 


s .PI Is* .d 1 


d 1 It 


n .m :n 


PI ,PI .PI ,PI In 


PI .d I PI .PI 


PI Ir 


1. Love-ly May, 
<^ 2. Hap -py May, 
3. Balm-y May, 

( d' .d' Id' 
^ d .d :d 


mer-ry, mer-ry May! 
mer-ry, mer-ry May! 
mer-ry, mer-ry May! 

d 1 ,d' .d 1 ,d' :d' 
d ,d ,d ,d :d 


Bird - lets now are 
With our songs we 
How we love thy 

d 1 .s Id 1 .s 
d .d Id .d 


sing - ing; 
greet thee; 
glad - ness; 

s Is 
a Is 


r 1 .r 1 Ir 1 


r 1 ,r' .r 1 ,r' Ir 1 


PI' .r' Id' .t 


d' : 


s .s :s 


SO O C * O 
jO .O jO .O 


s .s I PI .r 


n : 


Ev - ery - where, ' 
On the hill, 
Buds and flow'rs 


thro' the balmy air, 
by the shining rill 
thro' the sunny hours 


Songs of pleas - ure 
Now we wel - come 
Ope their scent - ed 


ring! 
thee. 
leaves. 


t .t :t 


t ,L ,L ,lj t 


d 1 .t Id 1 .s 


s : 


s ,s is 


S ,S .S 58 *S 


s .s s ,s 


d I 


s .s :m .m 


s .s Id 1 


t ,t .t ,t :r" 


d',d' .d 1 ,d' In' v 


n .PI Id .d 


PI .PI In 


r ,r .r ,r :r 


PI, PI .PI ^m In / 


Wel - come, wel - come, 


love - ly May, 


Merry, merry May, 


merry, merry May; > 


d' .d 1 IB .s 


d 1 .d 1 IB 


S jS .S ,S S 


d',d' .d 1 ,d' :d' \ 


d ,d :d .d 


d .d :d 


S ,S .S ,S . S 


d,d .d ,d Id / 


s .s :n .n 


s .s in 1 


n'jPi'.n'jPi 1 Ir 1 ,r' .r 1 ,r' 


d' :- 


n .PI :d ,d 


n .n Is 


S i3 o S S *S |S (j> 


n : 


Wel - come, wel - come, 


love - ly May, 


Merry, merry, merry, merry 


May. 


1 d 1 .d' IB .s 


d 1 ,d' Id 1 


d',d' .d 1 ,d' It ,t .t ,t 


d' : 


d .d :d .d 


d .d Id 


S ^D b ^O O ^O ib ^ S 


d : ' 



Modulator Voluntaries, EAR EXERCISES, DICTATION, 
Pointing and Writing from Memory, as described in the first step 
are to be practiced regularly at every lesson. Pulse-and-a-half 
tones, quarter pulse tones and silences, as in the following ex- 
ample 

|d :- .r |m : | m,m.n,m: n .r )d : || 

would be dictated thus, "TBAAd," " AATAIT," "TLAAH," "SAA," 



" tafatefe n m n n," " TAATAI n r," " TLAA-AA d." 

Certificates. Pupils now begin to make up their list of 
three tunes for the Junior School Certificate or six tunes for the 
Elementary Certificate. No tune of less than eight four-puls* 
measures or sixteen two-pulse measures should be accepted. For 
instructions in Voice Training, Breathing, Harmony, etc., be- 
longing to this step, the teacher will consult the Standard 
Course. 



SECOND STEP. 



QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 



1. What two new tones have you learned in this 

step? 

2. What is the relative position of Kay to Doh) 

3. What is the relative position of Te to Doh ? 

4. What is the mental effect of Kay ? 
5 What is the mental effect of Tel 

6. What is the manual sign for Rayl For one- 
Kay? 
1. What is the manual sign for Te ? For Te-one t 

8. What chord is formed of the tones d m s ? 

9. What chord is formed of the tones s t r ? 



^ DOCTRINE. 

10. What new kind of accent have you learned in 

this step? 

11. How is the medium accent indicated in the no- 

tation:! 

12. llow is the medium accent indicated in the 

time-names '. 

13. What two new kinds of measure have you 

learned in this step ? 

14. What is the order of accents in four-pulse 

measure ? 

15. What is the order of accents in six-pulse meas- 

ure! 



16. What is the time-name for silent pulse* 

17. How is it indicated in the notation? 

18. What is the time-name of a pulse-and--blf 

tone? 
10. How is it indicated in the notation ? 

20. What is the time-name of four quarter-pulse 

tones? 

21. What is the time-name of the first qnarter of 

a pulse? The second? The third? The 
fourth? 

22. How are quarter pulses indicated in the nota- 

tion? 



23. Sing to laa the .Ray and the Te, to any Doh the 

teacher gives. 

24. Ditto the .Ray 1 and Te to any Doh'. 

25. Taatai from memory any one of Exs. 85 to 89, 

96 to 99, chosen by the teacher. 

20. Taatai the upper part of one of the Exs. lOUor 
107, chosen by the teacher. 

27. Taatai-in-tune the upper part of Exs. 102 or 

107, chosen by the teacher. 

28. Point on the Modulator (sol-faing) any one of 

the following four Exs. GO, (51, 78, 79, chosen 
by the teacher. 



PRACTICE. 

29. Write from memory any other of these exer- 

cises chosen by the teacher. 

30. Follow the teacher's pointing in a new volun- 

tary, containing Doh, Me, Hoh, Te and Kay, 
but no difficulties of time. 

31. From any phrase (belonging to this step)sung 

to figures, tell your teacher (or write down) 
which figure was sung to Kay, to Kay 1 , 
to Te, to Te,. 

32. Having heard the tonic chord, tell your teach- 

er (or write down) which tone (Doh. He, .S'pA, 
Te or Ifnin was sung to Inn. Do this with 
two different tones. 



33. Taatai any Rhythm of at least two measures 

belonging to this step which the teacher 
shall inn to \ <m. He will tirst give you the 
measure and rate of uio v enient by taataing 
two plain measures and marking the accent 
by r and I without beating time, but the two 
measures you have to copy he will simply 
laa on one tone. 

34. Taatai-in-tune any Rhythm of at leant two 

measures, belonging io this step, which af- 
ter giving the measure and rate as above, 
the teacher may sol-fa to you. 



II 



jp 1OX KEY C. 

PI :m Cr 

Wand - 'rhuj i 



f :f :n 

dark - ness and 



r :n 

tjrop - ing 



:f 

our 



m 

way; 



II 



d' Id 1 

LIGHT WILL 



WEL - COMK, 



YES, 



WEL - COME 



d 1 : : 



DAY. 



p 



1OO. KEY 



(Id .d :d 

( | Soft - ly now, 



r .r Ir 

soft - ly now, 



111 

I PI .d 

| Lightly 



:r .PI 

raise the 



f 

song; 



s .s :s 

LOUDEB NOW, 



)| 



1 J :l It .s :l .t id 1 

LOUDER NOW, I LtOUD AND VEK - Y | STRONG. 



d' .d 1 :d' 

LOUD AND STRONG, 



t .t :t 

LOUD AND STRONG. 



II 



1 .d 1 :t J is 

NOW LESS LOUD AND ' STRONG. 



m 

If S if 

I Soft-er now, 



PI .PI I PI 

soft-er now, 



P 

r S 

Sofl-ly 



:m 

end 



d 

song. 



THIRD STEP. 



Tht prominent topics of the Third Stfp are as follows The tones FAH and LAH, completing the Seal*. Tlie Standard Scale. 

Classification of voices. The Metronome. The Half-pulse Silence. Various combinations of Quarter-pulses. Modification oj 
mental effects. 

KEY C OB D. 

|d :m |s :m |1 : |s : || 
Id :m |s :m |d' :t |1 : |J 

KEY G. 

Id :n |r :1, |d :t, |1, :- || 
|d :r |n :d |1, :- |s, :- || 

After the mental effects of the new tones are developed and 
their appropriate hand-signs taught, the tones are then to be 
thoroughly practiced, from the modulator, hand-signs, ear exer- 
cises, etc. The chord of FAH, or Sub- Dominant, consisting of the 
tones f 1 d 1 , may be brought out. See chords of DOH and SOH, 
page 20. The chord of Seven-Soh ('S)or Dominant Seventh, con- 
sisting of the tones s t r t, although belonging to the Fourth 
Step, may be taught at this point. 

The following exercises should be carefully taught by pat< 
tern from the modulator. 



s> 

fl 


The tones Fah and Lah are now to be taught. 
The method for doing this need not be described, 
the same process which was used for r and t will be 
used for the new tones, see p. 19. The mental effect 
of Fah, a gloomy, serious, desolate tone, and of Lah, 
a sorrowful, weeping tone, may be shown by the fol- 
lowing examples. 


Pi" 






KEY C OR D. 




|d :s |m :d |f : |d : || 


r 1 


|d' :n is :d' |f : |m : || 




|d :m |r :s |f : |m : || 


DOH 1 


KEY G. 


TE 


|d :s |m :d |rf : |d : || 
If, :- Id :- 11 



LAH 

SOH 

FAH 

ME 

KAY 

DOH 

t, 



110. KEY C. 



i! d :n " 



111. KEY C. 

:m Is 



(Id 1 : 



s m 



. KEY A. 



\ 



:d |s, :d 



d' is :t :r' id 1 : : ir 1 :t :s id 1 :1 :f Is :r 



(Id :m :d II, :f, :1, 

113. KEY G. 

(Id isj | PI :d 



s :t 



:t 



f : 



:s |t 



s, :t, :r id : : Id :s, m, d :1, :f, Ir 



id :-: 



d 1 : : 



,*:_:- 1 



d :1, |f :1, 
f :d (1, :d 



s, :t, ]r :f In :~ | : 



t, :r |f :t, id :- 



3d 



THIRD STEP. 



The Scale. After the tones drnfsltd 1 have been 
sung in successive order, the teacher will explain that this 
series of tones is called the Scale. Each tone of the scale 
differs from the others in pitch. By "pitch"' is meant the high- 
ness or lowness of tones. It may be observed that the eighth 
tone above or below any given tone has the same, mental effect 
and the same nume. The two tones are so neaily alike in char- 
acter that the ear accepts them as relatively the same notwith- 
standing the difference of pitch. They are Replicates or Octaves 
on of the other. The word octave sometimes means a set of 
eight tones, sometimes the eighth tone and sometimes the differ- 
ence of pitch or distance between the two tones. The teacher 
will question the class thoroughly in regard to the scale 
"Which is the third tone?" Me. "The fifth tone?" Soli. 
"The second tone? "Ray and so on; also questions in regard 
to the mental effects and hand-signs. He will explain that 
i n and a are readily distinguished as the strong, bold tones of 
the scale, andr f laud t as the leaning tones: t and f have the 
strongest leaning or leading tendency, t leading upward to d 
and f leading downward to n. The most important tone of the 
8c.de, the strongest, most restful, the governing tone, is called 
the Key-tone. A key tone, with the tones related to it or belong- 
ing to it, is called a key. A distinction is made between "key" 
arid "scale." A Key is a family of related tones consisting of a 
key-tone with six related tones and their replicates. A scale is 
the tones of a key arranged in successive order, ascending or 
descending. Tlie interval?) of the scale, large and small stops, etc., 
will be explained in the Fourth Step. 

The Standard Scale. The teacher will show by prac- 
tical examples that the scale may be sung at different pitches. 
Any conceivable pitch may be taken as the key-tone, and the 
other related tones will readily take their proper plac s. It is 
necessary to have one particular scale of pitch as a standard 
from which all the others are to be reckoned. This scale 



is called The Standard Scale (commonly known 
as Natural Scale). The particular degree of 
pitch which is taken as the key-tone of the Stand- 
ard Scale is named C, Hay is D, Me is E, Fnh is 
F, and so on, as shown in the diagram. These 
pitch-names (letters) of the Standard tocale should 
be thoroughly committed to memory. The correct 
pitch of this scale may be obtained from a piano 
or organ, or any of the common musical instru- 
ments properly tuned, or, for ordinary vocal pur- 
poses from aC 1 tuning-fork. It isa great advantage 
to have one tone in absolute pitch fixed on the 
memory, and it is more easy to do this than is com- 
monly supposed. The teacher will frequently ask 
the pupils to sing C 1 (which in a man's voice is 
really C) and then tests them with the tuning-fork. 
In this way the power of recollection is soon de- 
veloped. In estimating the chances of certainty, 
however, we should always bear in mind that any 
bodily or mental depression has a tendency to flat- 
ten even our recollection. Any pitch of the Stand- 
ard Scale may be taken as a key-tone. A scale or 
key is named from the letter taken as the key -tone. 
The different keys are indicated in the notation by 
the signatures "Key C," "Key G," and so on. 

To pitch times. Up to this point (he touch- 
er has fixed the pitch of the key-tone. The pupils 
themselves should now learn to do it in turn. The 
pupil strikes the C 1 tuning-fork, and taking the 
tone it gives, sings down the scale to the tone he 
wants. This tone he swells out. nnd then repeats 
it to the syllable tloh, and perhaps sings the scale 
or chord of DOH to confirm the key. Further 
instructions on pitching tunes in the Fourth Step. 



t-B 



s G 



f-F 
n E 



r-D 



d C 



11 1. KEY G. Hound in three parts. 



d Id |f In Ir Is |n I 

Come, now, let us I mer-rv be. 



d :d 



:d 



Fill our souls with 



t, :t, |d : Id :d 



s, :s, |d : 



mirth and glee, ' Hearts and voi-ces | all a - gree. 



If 



. KEY Bb. Round in four parts. 

d Id jr Ir In In |d Id ii| II, |t| :t ( 

hap - pi - ness has | not her seat And I cen - tre in the 



JIS, 

( w 



f, :f. Ifi :f. 

We I may be wise or 



PI I IS| [d IS| |1| If| |r ( 

rich or great, But I nev - er can 



be 



d I- {- 

breast, 

d, I- 1- 

blest. 



I 



11O. KEYJD. Round in two parts. T. P. a 

n In If In |n In If" In |d Ir i n" i f 

keeps so I storm - y, and the I raiu comes down like I that, > 



\\p\ In if In | 

' If the I weath - er k< 



IS 
shall 



1 :s |s :s 

nev - er have the 



1 Is |s Is II Is |PI Is 

priv - i - lege of | wear - ing my new 



d' 

hat. 



THIRD STEP. 



37 



117"'. KEY F. Round in three parts. 

s i :l Is : :n is : :l |s : in is :f in |r in :f In: : 

1 With the Spring - time I comes the rob - - in, | Singing his cheer-ful re- ' frain; 



T. F. s. 



n : :f in : :d 

Sing a - way you 



n : :f |n : :d In :r :d |t, :d :r Id : :- 

hap - py bird - ling, I Bring us the Spring-time a - I gain : 



) 

' ' I 

) 

' ' 1 



(Id :- 

t| Hark ! 


- I |d I- I 

hark! 


A \A 

u. | u. 

hark ! hark ! 


S| IS, IS, 
Hear the mel - 


|s, Is, Is, 

o - di - ous 


d 11 
^^ ^^ 

strain. t 


US. KEY C. 


T. F. S. 


Is 


1 : 


s n 


Is 1 Is n 


Is 1 


11 |t 


It d 1 I | 


l.O 

2.The 


sweet to me the gen - tie sprin 
plow - man drives his shin -ing share 


.,', Wheu earth 
A - cross 


is rqbed 
the mel - 


in flowers, 
low lea, 


In 


f : 


n |d 


In f : 


n |d 


In f 


If r 


Ir n I | 


Id 1 | 


t ; 


1 s 


Id' t I 


1 s 


11 s 


In f 


Is n I 1 


And 
And 


beau - ti - - ful 
lays the fur - 


the sum - mer time, 
rows broad and fair, 


With nil 

As waves 


its leaf 
up - on 


y bowers, 
the sea. 


In 


S I 


f n 


In s I 


f n 


If n 


:d r 


In d I ] 


119. KEY G. 


T. F. S. 


n I- 


- In 


s I In 


d I Id 


n I Id 


1, I Id 


f :- il, 


s. Id In r I I ^ 


All 

' d I- 
nnl- 

] All 


that 

- Id 
- In 

our 


now so 

n I Id 
s I In 

doubts and 


dark ap - 

_ t .,., 

n, i m, 
d I Id 

all our 


pears, Whi 

s, I In 
n I Id 

tears Will 


e earth's dark 

fi :- :l. 
1. :- :d i 

be made 


shad - ows 

f I- 11, 

clear in 


dim the sight, 


s, In Ir d I I || 


heav - en's light. 


( d:- 


- Id 


n I Id 


n, I In, 


s, I In, 


f, I- 11, 


1, I- If, 


n, IS| If, n, I I 1 



Tuning Exercises. See page 21. To be Solfa-ed, laa-ed and then sung very softly to loo. 

Sing Ex. 120 first as written. Second time, Soprano take the Tenor, singing d 1 instead of d. In the key G- the Tenor and Contralto 
Tenor take the Contralto, singing d 1 instead d, Contralto take the change parts, Contralto singing 1, instead of 1, and Base will take f| 



Soprano. Third time Soprano and Contralto change parts, Soprano 
10. KEYS C, Eb AND G. 



instead of f. 



31. KEY C. Sing only as written. 



d :- 


m :d 


f :- 


: 


: 


f : 


f :f 


PI : 




d : 


PI :d 


s : 


: 


: 


f : 


PI :r 


Pi : 


d :- 


PI :d 


f : 


: 


d : 


: 


d:d 


d : 




d : 


PI :d 


s : 


: 


r : 


: 


d :t, 


d :- 


d . 


m :d 


f :- 


1 : 


: 


: 


1 :1 


s : 




d : 


PI :d 


s :- 


t : 


: 


: 


d':s 


s ~~ 


d. . 




f . 








f.* 


d. 




d. 














d j^- 

















:i 


: 




, 


n . d 


S ', 


i 





* 


s .BI 





THIRD STEP. 



1SJ3. KEY E!r. 



1S3. KEY F. 



d : 


R :d 


s : 


' 


: 


f : 


R :r 


d :- 


/ 


d : 


R :d 


s : 


: 


r : 


: 


d:t, 


1 d : ~ 


R :d 


s, : 


t. :- 


: 


: 


d :t, 


d : 




d :- 


R :d 


s, : 


t, :- 


: 


: 


d:s, 


d : 


R :d 


s : 


: 


r : 


: 


s :f 


R : 




d :- 


R :d 


s : 


: 


: 


f :- 


Rtr 


d :- 


R :d 


8, :- 


: 


: 


: 


8, :s. 


d : 




d :- 


R :d 


s, :- 


: 


: 


: 


s,: s, 



d :-| 



s, : 



d : 



COMING NIGHT. 



1S24. 


KEY P. M. 86. 


^_ 


B. C. U. 


d Id 




t) It) 


1. 


II, 


8, I- 


d Id 


r In 


s In 


r : 


s, Is, 




s, Is, 


f, 


if. 


ni I 


s, Id 


t, Id 


d Id 


t, :- 


l.Slow-ly, 




gen - tly 


comes the 


night, 


With its 


heav - y 


e - bon 


pott. 


2.O, the 




won - drous 


brow of 


night, 


Beau - ti - 


ful with 


moon and 


star, 


PI IPI 




r Ir 


d 


Ir 


n I 


n In 


s Is 


s Is 


s : 


d Id 




S| IS, 


1, 


:t, 


d I 


d Id 


s, Id 


n Id 


s, I 


PI In 




1 TP 


8 


Id' 


! ._ 


1 Is 


s In 


n Ir 


d I 


d Id 




t, it 


d 


Id 


d I- 


d Id 


t, Id 


d It, 


d I- 


But the 




cres - cent 


RI8 - 


ING 


CLEAR, 


Sheds a 


mel - low 


light o'er 


aU, 


' Send - ing 




forth its 


8IL - 


VER 


LIGHT, 


O'er the 


dark - 'uing 


shades a 


far. 


8 IS 




s Is 


8 


Is 


f I- 


f IS 


8 IS 


8 If 


n I 


d Id 




r Ir 


n 


in 


f I- 


f In 


r Id 


S| IS, 


d I 






SILENT YALE. 




p 1^*5. 


KEY E*. M. 76. 


m 


B. C. U. 


8 IS |1 11 


& In 


s In 


d Id 


r Ir 


n Is r I 


8 IS 


1 11 


d Id 


d Id 


d Id 


d Id 


d Id t it 


d Id |t, I- 


d Id jd Id 


1. SI -lent vale! jcliere 


love and pleas - ure 


Ev - er round our 


cot - tage flow'd ; 


Beauteous 


an the 


2. fhre ye well, ye 


loft - y shad - OWH, 


Which have ulndd-rd 


oft our head; 


Still be green ye 


m In 


f If 


n Is 


n Is 


1 In 


s Is 


8 IS S I 


n In f If 


d Id |d Id 


d Id 


Id Id 


1 ll| |S| IS, 


d . In s I 


d Id |d Id 


V * 




~~ P 


v 


1 


s In 


s Is 


d Id 


n Ir 


d I- 


f If |1 11 


n In 


Is I- 


d -:d |d id 


d Id 


d Id 


d It, |d I- 


d Id |d Id 


d Id 


d I- 


WEOTEKH EVENING, 


Love-ly as the 


sun- lit cloud, 


Peaceful as the 


ves - per bell, 


LOVE -IT MEADOWS, 


Fields'with bright-est 


flotc'rs be spread; 


FieUls where oft the 


Vfs -per song. 


1 :f | 


PI IS 


n In 


n In 


S If 


n : 


1 :1 |f :f 


s Is 


n : 


d tf (d :d 


d Id 11, 11, 


8. IS, |d ? 


f if |f :f 


d Id |d : 



THIRD STEP. 



39 



m 

s In |s In 

d Id |d Id 

Thee we bid a 

Swelled in ech - oes 

n Is |n Id 

d Id |d Id 



d Ir 


|rn :- 


s IPI 


s In 


P 

s : 


s I 


s 


d It, 


|d :- 


d Id |d Id 


d I 


ti :- 


d 


long fare - well, 
sweet and long, 


Thee we bid a 
Thee we bid a 


long fare 
long fare 


well. 

Wfll. 


n Is 


s I 


n Is 


n Is 


n I 


r I 


n 


l, :si 


d :- 


d Id 


d Id 


s, i Is, : 


d 



SONG OF THE AUTUMN. 



KEY C. M. 76. 



d 1 Id 1 Id 1 


t It It 


n In In 


s Is Is 


l.Beauti-ful morning, the 
2. Let us be straying, no 


s Is Is 


s Is Is 


did Id |d Id Id 



1 *1 ! I ! *! ' 

1 1 1 \o o to 

f If If |n In In 

au-tumn a - dorn-ing, Oc - 

time for de - lay - ing, Oc - 

s II It |d ] Id 1 Id 1 

d Id Id d Id Id 



Words and Music by H. 


K. PALMER, 


by per. 


f 


If 


If 


n In 


In 


r 











~ 


r 


Ir 


Ir |d Id 


Id 


t. :- 




~~~ 






~~ ^~ 


to 
to 


- ber's as pleasaut 
- ber's as pleasant 


as 
as 


May; 
May; 







S 


Is 


Is 


s Is 


Is 


S I 



" 


I 




~ 


t, 


It, 


It, 


d Id 


In 


S t~~~ 



~"" 



t 



t 



r 1 :r' Ir' Id 1 Id 1 Id 1 
f If If |n In In 

Long tho' the shadows Thrown 
Nuts we will gath - er To 

t It It d 1 Id 1 Id 1 

s Is Is Is Is Is 



t It It 11 II II 

r Ir Ir |n In In 

out on the meadows, The 
cheer wintry weather; A - 

r 1 Ir' Ir' |d' Id 1 Id 1 
s Is Is |d Id Id 



O Q C ! 1 

D O to 1 1 1 1 

r Ir Ir |r Ir Ir 

for-ests are ro - sy and 

way to the for-ests, a 

t It It |d' Id' Id 1 

r Ir Ir |r Ir ir 



_ I o *1 *f 

-~~ I s i T. 

* IT 'm 'f 

|T PI .1 

Mer - ri - ly 
Cheerful - ly 

t : : |t :d> ir 1 

s I I f IPI Ir 



d 1 Id' Id 1 |t It It 

PI IPI I PI |S IS IS 

birds are now filling the 
squirrels are chipping in 

n'lr 1 Id 1 |s Is Is 
d Id Id |d Id Id 



1 II II s Is Is 
f If If |PI In In 

air with their trilling, Let 
time with our tripping, They 

s II It Id 1 Id' :tf 
d Id Id |d Id Id 



f If If (n In In 

r Ir Ir |d Id id 

us be as joy - ful as 

of-fer to show us the 

S IS IS |S IS IS 

1, It, Id |r In If 



r I- 

t, I- 

they; 
way; 

S I- 

S I- 



r 1 Ir 


r ifi 


|d' 


:d' 


:d' 


t :t 


:t 


1 


II 


II 


f :f 


:f 


|n 


:ro 


In 


r Ir 


Ir 


n 


in 


In 


Fling 


ft- way 


sor - 


row, 


Ne'er 


grieve for the 


morrow, 


Oc - 


Fling 


a-way 


sor - 


row, 


Ne'er 


grieve for the morrow, 


Oc - 


t It 


It 


Id' 


Id' 


:d' 


r' Ir 1 


Ir 1 Id' 


Id' 


Id 1 


S IS 


Is 


Is 


Is 


Is 


S*e 
s 


Is |d 


Id 


Id 



s :l is Jf in ir 

r Ir Ir |t. It, It, 

to - ber's as pleasant as 

to - ber's as pleasant as 

t It It |s Is If 

r :r ir Is, Is, :s. 



d I- 
d I- 

May. 

May. 

n I- 
d I- 



40 



THIRD STEP. 



1SJ7" 


. 


KEY F. M. 76. 


CHESTEB G. ALLEN. 


3 IS 




|1 Is 


d 


If 


PI 


I 


n Ir 


f In 


r Id 


r 


I 


PI 


If 


s Id 


d d 




|d Id 


d 


Id |d I 


d It, 


r Id 


t. Id 


t, 


I 


d 


Ir 


n Id 


l.Twin'd 


with ev - ery 


earth-ly 


tic, 




Mem'ries 


sweet that 


cau - not die; 


Breathing still where- 


2.0th-er 


climes may 


charm a - while, 


Oth - er eyes in 


beau-ty smile; 


Yet we mur - imir 


n In 




f in 


n Jl 


S 


I 


8 IS 


s Is 


f In 


s 


I 


S 


Is 


s In 


d Id 




d Id 


d 


Id 


d 


I 


s, Is, 


Is, is. 


8, I 


LI 


s. 


; 


d 


Id |d Id 


1 11 




s I 


d 


Ir 


m 


Is 


n Ir 


Id I- 


r In |f 


Ir 


n 


if 


s I 


d Id 


|d I- 


d 


:ti 


d 


Id 


d It, 


d I 


t, Id 


r 


It, 


d 


Id 


d I 


e'er we 


roam, 


Moth-er, childhood, 


friends and 


home. 


Green the gar - 


den 


where we played 


as we 


roam, 


Moth-er, childhood, 


friends and 


home. 


All 


of joy 


we 


fond - ly prize, 


f If 




n I- 


n 


Is 


s 


In 


S If 


n I- 


s Is | 


s 


Is 


8 


Ir 


n I 


f, :l. 




d I- 


1, 


:s, 


d 


Id 


S| IS, 


|d I- 


s, Is, |s. 


Is, 


d 


Id |d I- 


1 Is 


S 


If f In 


r I- 




n If 


s Id 


1 11 s I 


d I 


r 


n Is 


n Ir 


d I 


( d id 


r 


Ir r Id 


t, I- 




d Ir 


n Id 


d Id |d i- 


d I 


t, 


|d Id 


d It, 


d I- 


i Dear the old 


fa - mil-iar 


shade, 




In our dreams how 


oft they come, 


Mother, childhood, 


friends and home. 


\ Twin'd with 


all our fondest ties, 


Sa-cred still where- 


e'er we roam, 


Mother, childhood, 


friends and home. 


( f in 


s 


Is s Is 


S I- 




s Is 


s In 


f If n I- 


n I 


s 


s In 


S If 


n I 


\ d id 


t, 


It, t Id 


8, I- 


d Id jd id 


11, d I 


1, Is, |d Id 


8, IS, 


|d I- 








THE WAYSIDE WELL. 


1S. KEY D. 


B. C. 


UNSELD. 


, S .8 


In .n 


f S ir 


r .n I 


f .s 


1 


Is 






8 


,s In .n 


n .n 


Id .d 


r .r It 


i 




t, .d I 


r .n 


f 


In 


n 


.n Id .d 


' I. Oh! the 


pret - ty 


way-side well, 


Wreath'd a bout with 


ros 


- es, 


When be-guiled with 


J. Treads the drov- or 


on the sward, 


Comes the In - b'rer 


to 


thee, 


Free as gen - tie - 


Fair the 

i 


greet -ing 


face as - cends, 


Like a nn - ind 


daugh 


- ter, 


When the pea - sant 


1 d 1 .d 1 


Is .s 


S .S IS 


8 .8 IS .d 1 


d' 


Id' 


d 1 


.d 1 is 


.8 


d A 


Id .d 


S, J 


3, IS 


i 




S| .S I 


s, .s. 


d 


Id 


d 


.d Id 


.d 


f S 


:r 


r .s It 




.s 


1 Is 


f S 


Jr 


jr 


n 


S' Is 




r jc 


it 


1 


t, .t, Ir 


j 


r Ir 


r j: 


It 


.t. 


d 


j in 


sooth-ing 


spell, 


Wea-ry foot 


re - 


pos - es; 


With a 


wel - come 


fresh and green, 


man or 


lord, 


From 


his steed 


to 


woo thee; 


Thou from parch-ing 


lips 


dost earn, 


las - sie bends, 


To 


the trem-bling 


wa - ter; 


When she leans up - 


on 


her pail, 


S .S 


Is 


s .s Is 


.S 


d' :t 


t .t 


Is 


.8 


8 


.s Id 


Si .8, 


Is 


1 


S, . 


3, IS 


[ 


t| 


r is 


a ,s 


Is, 


i 


s\ 


d 


.d Id 



THIRD STEP. 



il A :d' .1 I 


IS d 1 


.d 1 Is .s PI .f Is 


1 .s In 


.d r Id 


f S il S f 


In PI 


.PI IPI ,n do* In 


f .PI Id 


.d t. Id 


Wave thy bor- der g 


rass - es, By 


the dust-y trav-'ler seen, 


Sigh-ing as 


he pass - es. 


< Many a murmured b 


less - ing, An 


d en - joy - est in thy turn, 


In - no - cent ca - ress - ing 


i Glauc-iugo'er the u 


lead - ow, Sw 


eet shall fall the whispered tale, 


Soft the doub-le shad - ow. 


i d 1 .d 1 :d' .d 1 d 


[' Id' s 


.s Id 1 .d 1 s .s Id 


t .d 1 :s 


,m f In 


' f * :f S Id 


Id d 


.d Id .d d .d Id 


,*, :., 


.s, S| id 


MUSIC EVERYWHERE. 


199. KEY G. M. 90. 


CHESTER G. AILEN, f*4r per. 


d .d :t, .1 


s, Id 


r .r Id ,t| 


d 


I 


d .d It, J, 


H| ,P1| .'S| .f 


P1| IS| 


1| .1| IS| ,S| 


B| 


I 


Pl| .Pl| IS, ,f| 


< I. Mu-sic in the 


spring - time, 


Wak-ing up the 


flowers; 


Mu - sic in the 


2. Mu sic in the 


niin - drops, 


Fall -ing in the 


night; 




Mu - sic in the 


d .d :d .d 


d IPI 


f .f In .r 


n 


I 


d .d Id .d 


d .d :d .d 


d Id 


.* 4? 


d 


I 


d .d Id -d 


Si :d 


r .r Id .t 


. d I- 


r .n Ir .d 


t, Id 


PI, Is, 


1| .1| IS) .8 


s, I 


t, .d It, .1| 


s. Is, 


> green trees, 


Mu - sic in tl 


e bowers; 


Mu - sic in the 


cot - - tage. 


young birds, 


When the day is 


bright; 


Mu - sic in the 


crick - et, 


d Sn 


f .f Irn .r 


n I 


s .s Is .r 


r In 


d :d 


f, .f, IS, .8 


d, I- 


s, .s 


, :s, .s, 


s, Is, 


r .PI :f .PI r 


I- d 


.d It, .1, s. Id 




r .r Id ,t d I 


t, .d :i .d t 


i s, 


.S| is, ,f, n, Is, 




1 .1, is, , 


S, 8, I 


Mu-sic in the 1 


ea, Mn 


-sic in the south wind, 


Mu-sic o'er the sea. 


Chirping loud and c 


lear, ML 


-sic in the spring time, 


Mu-sic all the year, 


s ,s :s .s s 


I PI 


.n Id .d d In 




f .f In j 


r n I 


s,.s, :s, 4 , 


i I d 


.d Id .d d Id 




f Si Is, .s, d : 


13O. KEY D. 


CRESCESDO AND DIMINUENDO. 


p 


" 


m 




- 


* 


d :r PI 


Ir PI If 


S* -_ a * a 
3 .3 


1 


Is 1 


it d 1 : 


See the sun 


in glo - ry 


rise From the 





cean's HEA 


V - ING BREAST, 


f ~ 


= 


m 





__ 


=^ 


ild 1 :t 1 :s 1 ;l 


S ta f 
" IS 1 


n 


If n 


Ir d I 


1 THEN MOVE O'EB 


the bound-less 


skies, 1 Sink - ing 


BOO 


n be - neat 


i the West. 



12 












THIRD 


STEP. 


SKATING GLEE. 


131. KEY C. M. 100 beating twice. 














A. S. KlEFFE. 


IS 


s 


:- 


- Is s 


g 


1 : :l 


H 


: : 


I 


t 


: 


- :t |t 


:l :t 


d 1 : : s : 


tin 


n :- 


im n : :m 


f : :f 


f 


: :f 


f 


: 


- :f |f 


: :f 


m : : n : 


U.Ob, 


come 


with me, and 


we will 


go 


Aud 


try 


the win - ter's 


cold, sir; 


K.We 


have 


our mer - ry 


games in 


spring, Of 


ball 


and oth - er 


sorts, sir; 


<3.With 


sled 


and satch - el 


off we 


start, The 


smok 


ing break - fast 


through, sir; 


k.But 


when 


the les - sons 


all are 


done, O 


then 


we're on the 


ice, sir; 


(:d' 

\ 


d :- 


- :d' d 


! j Jd 1 


d :- :d' 


Id' 


: :< 


1" 


S 


;_ 


- Is s 


: :s 


s :_ :_. |d" : 




d :- 


- :d d 


: :d 


f :- :f 


If 


: :f 


S 


; - 


- Is s 


:- :s 


d : : d : 


is 


s 


5- 


- :s s 


: :s 


1 :- :l 


H 


: : 


1 


t 


:_ 


- It It 


:l :t 


d 1 : : |d' :- 


(PI 


m :- 


- IPl F 


i : in 


f : :f 


f 




4 


f 


f 


:- :f |f :-:f 


PI : : PI : 


\It 


freez 


- es now, and 


soon will 


snow, But 


we 


are tongh and 


bold, sir. 


/But 


win 


- ter, too, his 


share can 


bring Of 


old 


and cheer - ful 


sports, sir. 


\And 


all 


the day, with 


book aid 


chart, We 


have 


e - nough to 


do, sir. 


/And 


b 


f 


the red - ly 


sink - ing 


sun, We're 


skat 


ing it so 


nice, sir. 


:d' 


d 


I- 


- :d' d 


~ ' * d 


d : :d' 


d 


: : 


d 1 


S 


:- 


- :s s 


: :s 


s : : |s : 


:d 


d 


* 


- :d Id 


: :d 


f : :f 


If 


: : 


f 


S 


i 


- :s s 


:-:s 


d : :_ d : 


8= 

d':- 


_ 



~~ 


m': : 


1 : : 


d':-: 


t : 


-:t It :l 


:t 


7.s/ tinu'. 

d': :- 


- s : : 


2<l time. 

d : : : : 


Come 


come 


















PI :- 


" ~ 


s : : 


f : : 


f : : 


f : 


-:f 


f :- 




:f 


n : :- 


- m:: 


m: : : : 


Come, 


come, 


come, come, 


come, Oh, 


C'OllH 


with 


me, 


sir, 


me. 


s :- 




: 


d':-: 


d': : |i : : 


s : 


:s 


r 1 :- 




:r' 


d 1 : :- 


- d': : 


A\ 
u. . * * 


d :- 




: |d : : 


f : : 


f : : 


s : 


Is 


s :- 




:s 


d : :- 


- d : : 


d : : : : 










LO! THE 


GLAD MAY MORN. 


1312. KEY 1>. M. 120. JMyhlly. 


From the GERMAN. 


,:d .PI 




s 


Is 


8 Zl & 


s S :f .n 


If .f : 


8 S 


m 


:PI 


s :f .n r : . 


:d .d 


Pl 


:PI 


n :f .n 


PI j :r .d 


r j I 


PI J 


d 


:d 


PI :r ,d t| i 1 


\l.Lo!the 


glad May morn, With he 


r rosy light is br 


aking, O'er the 


hills so 


love - ly and fair; 


/2. O'er the 
.i. Oh, the 


rus - tic wild, When tin 
glad May morn, Like a 


i-dle winds are blowing, We will 
cliilil she comes to meet us, With hrr 


roam with 
brow all 


pleas - ure to - day ; \ 
cov - er'd with flow'rs; 


(:n, 




d 1 


:d' 


d 1 :d' .d 


d 1 .s Is .s 


s .s : 


8 .S 




8 


:d' 


d 1 :s .s s :- \ 


\:d .d 


d 


:d 


d :d .d 


S| ,S| :si ,S| | 


80*00 
| ,S| S| .S| 


d 


:d 


d :d .d s, :- 


:d .PI 




s 


is 


s :1 .s 


s S :f . 


PI 


f S : 


8 S 


PI 


:PI 


s :f .PI 


r : 


:d .d 


PI 


:PI 


n :f .m 


PI j :r .d 


r j: : 


PI J 




d 


:d 


PI :r .d 


t, :- - 


And the 
On the 
And she 


pure young buds, From thei 
mos - sy bank, Where th 
calls the birds, All th 


r dew-y sleep awaking, Mirth and 
a crystal brook is flowing. We will 
e merry birds to greet us. And the 


mu - sic float in the 
crown our queen of the 
laugh-ing, bright summe 


air. 
May. 
r hours. 


:m .s 




d' 


:d' 


|d' :d' .d 1 


d 1 .s :s .s 


s .s : 


S .S 


8 


:d' 


d 1 Is .s 


s :- 1- 


:d .d 




d 


:d 


Id :d .d 


S| ,S| *S| . 


B| 


s, .8) : 


S, .8, 


d 


:d 


d :d .d 


s, : | 



THIRD STEP. 



43 



/Id .n sjs Is .s s :d'.t. 1 J :1 J |1 Ir 1 .d 1 
\Id .d n.n In .n n In .s f ,f If S |f If .f 


t Is s 11 .t 


d' :- 1 
n : ( 


f In |f If 


(Then a- way, a-way, a-way, Then a- way. a-way, a-way, And a - 


May - ing we will 


go. 


I PI .s d'.d'Id' .d 1 d 1 Id'.d' d'.d'Id'.d 1 |d' II .1 
Id .d d.d Id .d d Id .n f .f If S f if .f 


s Is |t id 1 j' 


d' I- 1 

d :- 1 


c a. 

O .9 D| 


s, 


MERRILY THE CUCKOO. 


tr$r5. KEY D. M. 80. 




CHESTEK G. ALLEN. 


, s ,s ,s ,s Is .n 


d 1 .1 is 


r .n If .1 


s 


in 


n ,n .n ,n In .d 


n .f In 


t, .d ir .f 


n 


id 


l.Merri-ly the cnck - oo 
2. Pleasantly the sun, with 


in the vale 
gold - en light, 


To the morn is 
Wakes the earth to 


sing 
glad 


ing, 
ness, 


cL d. Q d r d ^ 


s .d 1 Id' 


s .s Is .t 


d' 


Is 


d ,d .d ,d id .d 


d .d Id 


S| . 


1 :si ' S| 


d 


Id 


/ s 98 s ^8 oS n 


d 1 .1 Is .d' 


t .8 11 .t 


d 1 


Id' .8 


n ,n ,n ,n In .d 


n ,f In .n 


f .f if .f 


n 


in ,n 


Cheeri-ly the ech - o's 
Happi - ly we roam till 


fair - y tale By 
dew - y night With - 


sil - ver fount is 
out a thought of 


ring 
sad 


ing. A - 
ness. A - 


r\\ f\\ A\ f\\ ' r\\ a 
U yU U jU. .11 .9 


s .d' id' .d 1 


r 1 .t Id' .r 1 


d 1 


IS .8 


^ d yd .d ,d id .d 


d ,d Id .d 


S .8 IS .8 


d 


Id .d 


f ,n Ir .1 


,f In .s 


f ,n ir .1 


s S In 


r fc d It, .f 


n j* id .n 


r .d It .f 


n j 


f Id 


way, a - way, with 
way, a - way, -vith 


foot - steps free, We'll 
foot - steps free, We'll 


chase the shad - ows 
chase the shad - ows 


o'er the lea: 
o'er the lea: 


S .8 IS .t 


d 1 .d 1 id' .s 


S .8 IS .t 


d' .d' Id 1 


S| ,S| iS| J5| 


d .d Id .d 


S| 


i, :s, .s, 


d .d id 


6= 

S ,S .8 ,S IS 


1 ,1 J ,1 11 


1 


r . id' .t 


d 1 


i 


n n .n ,n In 


f ,f S ,f If 


f 


f In .r 


n 


: 


Merri - ly we go, 
Merri - ly we go, 


Merri-ly we go, 
Merri-ly we go, 


None so gay as 
None so gay as 


we. 
we. 




d' ,d" .d 1 ,d' id 1 


d^d'.d' ,d':d' 


1 J is .s 


S 


: 


It! ,d .d ,d id 


f ,f S / :f 


f .r is ,S| 


d 


: 



THIRD STEP. 



G* 


Classification of Voices. The about the middle tone 


of the usual vocal 


Gf 


teacher may now proceed to a more definite 


compass and is common to nearly all mu- 


\A 


classification of the voices. He will first ex- 


sical instruments. 


The diagram on the left 




plain the difference of pitch between the 


will show the usual vocal compass, male and 


t- 


F* voices of men and the 


voices of women. 


female. The teacher may find it useful to 




JU This may be 


done by 


having the women 


draw this diagram 


on the blackboard and 


E 1 


sing the scale 


of C several times alone, and 


have the tones sung at their proper pitch to 




then let the men sing it alone. Most of the 


his 


pointing. Let 


all 


begin at Middle C, 




men will think they sang the same tones 


the voices of the men and women in exact 




D' the ladies sang. To prove they did not, let 


unison, then, as the teacher points, sing up 


y 


the ladies sing d (C) and sustain it, while 


the scale together. 


At G the men will stop, 




the men sing 


from their d up to d 1 , when 


many of them will have to stop before reach- 




f*i they reach their d 1 they will be in exact 


ing that tone, the woman continue np to G 1 . 


PI 


unison with the ladies. 


It will thus be seen 


Then, descending, the men will join in at G 




v 


: B that the voices of men are naturally an oc- 


(at the proper pitch) and together descend to 




B 


tave lower than the voices of woman. This 


to G,. at this tone the women will stop, the 






pitch C, which was just sung in unison, and 
which stands high in a man's voice and low 


men continuing down to G 2 . Returning d 
upwards, the women will join in?* <*.. -MH! 




A 


A in 


a womau's- 


is called middle 


C. It is 


so on. 


t- 




**. 
















f 






G 






i:s I 


1 . KEY 


C. 










G- 


. 




LADIES. i 


d : 


d 


d :d 


d :d 




d :d ) 






.s F 




J 


Now ( 


nr 


voic - es 


all u - 




nit - ed; 




F 


E 


GENTLEMEN. ( 


d 1 : 


d 1 


d 1 :d 


d 1 :d' 




d 1 :d' ) 


d 


E 


00 






















*gj 


















'S 






















i- 




|D 


( 


In :n 


s 


:s 


d 1 


:d' 


t 


: ) 


e 


D 




\ 


Let US 


see 


why 


they 


a - - 


gree: J- 






C Middle. ( 


d' Id 1 


t 


:t 


1 


:1 


8 


: ) 




O 


B, 


















B, 




.' 


t :t 




d 1 


:s S 


PI 


:f 


S 


:PI ) 




A, 


] 


Tis 1) 


! 


cause 


when 


first 


we 


start - ed 


A, 




( 


s :f 


PI 


:r 


d 


:r 


PI 


:d 




G| 


















G, 




( 


s :f 




PI 


:r 


d 


:d 


d 




F 


] 


We were 


sing - 


ing 


Mid 


- die 


c. 


F. 


' S 


( 


n :f 


S 


:l .t 


d 1 


Id 1 


d' 


1 i 


'a 


















D, B 




The teacher may next examine the worn- 


voice lie above G it may be classed as a high "f), 




en's voices and classify them into high 


Void 


. If the best tones lie l>elow G, then it 




voices called 


Soprano and low voices, 


may be called a low voice. 


The men's voices 




called Contralto. The high voices of men 


may be examined in 


the 


same way by tak- 


1 


are 


called Tenor the low voices of men are. 


ing G, (first G, below middle C), as a key- t-'r- 


B 3 


called Base. Each voice should be examined 


tone. 


It is the quality of the voice, not the J* 




individually. 


To examine the 


women's 


compass, that decides the question. Cul- "~"* 




voices the teacher gives G (first 


G above 


tivation may afterwards 


make a difference. 




middle C) as a key-tone and requires the 


but this simple mode of classification will . 


a 


pupil to sing 


the scale, first upward as 


answer for the present purpose. The dia- Ag 




high as she can go, and 


then downward as 


gram 


on the right 


shows the usual easy 


O 


low as she can go. If the fuller, more beau- 
tiful and more easily produced tones of her 


compass of the different voices. 

G. 



THIRD STEP. 



45 



Gr d' 

t 

FI 

E' 1 

D' s 

C" f 

B m 



Octave Marks. The pitch of the key- 
tone of any key is always taken from the unmarked 
octave of the Standard Scale, and this doh, what- 
ever pitch it may he, with the six tones above it are 
without octave marks. For instance, for the key 
G, the unmarked G of the Standard Scale is taken 
as doh, this doh with the six tones above, r PI f s 1 1, 
are without octave mark; the scale below would 
have the lower octave mark. This may be illus- 
trated by the following diagram. To save the 
unnecessary multiplicity of octave marks, both in 



KEY C. 



writing and printing, the Tenor and Base parts are always 
written an octave higher than they are sung. In quoting 
octave marks, as in dictation, the upper octave marks are 
distinguished by naming them before the note, the lower by 
naming them after thus, C 1 is "one-C," d 1 is "one-doh,' 
G, is "G-one," s, is "soh-one." It will help the memory to 
notice that the higher comes first. Thus, we say that the 
easy Base Compass is, as above, "from G-two to C, " that of 
Contralto "from the G-one to one-C," that of the Tenor "from 
C-one to unmarked F," that of the Soprano "from unmarked 
to one-F." 



:- I IPI 

The 
' I *HI 

I .a 
: I :d 



A r 


SOPRANO. 


d I d Id 


d 


I |d Id 


PI IPI 


q q 

o O 


d' 




CONTRALTO. 


d I- d Id 


d 


I |d id 


PI IPI 


s Is 


PI 


G-d 




Once more u - 


nit 


- 


ed, And 


then in 


four parts 


sing; 


ti 


TENOR. 


d 1 :- Id' id 1 


d 1 


I 


d 1 id 1 


d 1 Id 1 


s Is 


S 


F 


BASE. 


d 1 I d 1 Id' 


d' 


I |d' Id 1 


d 1 Id' 


s Is 


d 


E 1, 












D s. 




l ;l 


1 11 


s I 


d' I 


d 1 


t It |t 


It 


d 1 I- 






f if 


f If 


PI I 


PI I 


n 


r Ir r 


:r 


PI I- 


C f, 




measure gen - tly 


flow 


ing, The 


pleas-ant tones will 


ring. 


B, mi 




d 1 Id' 


d 1 Id 1 


d 1 I- 


s : 


s 


s Is s 


IS 


S I- 






f If |f If 


d I [d I 


d 


s Is s 


Is 


d I- 



nsed 
No. 136. 



Unison really means two or more voices singing the same identical tone, as in the first two measures of No. 135, but it is generally 
i to mean that men aud women sing the same part, i. e., the men an octave lower than the women, as in the first two measures o' 



SONGS OF PRAISE. 



130. 


KEY C. 








d :- 


.n 


s 


IB 


1 


:d' 


Id- 


d :- 


.PI 


s 


is 


1 


id 1 


Id' 


1. Songs 


of praise 


the 


an - 


gels 


sang, 


2. Heav'n 


and earth 


must 


pass 


a 


way; 


d :- 


.m 


s 


IB 


1 


id 1 


Id' 


d :- 


.m 


s 


IB 


1 


:d' 


|d' 



m 1 :- .f'|Pi 
s :- .1 |s 

Heav'n with hal - 
Songs of praise 

d' I- .d 1 |d' 

d' I- .d'|d' 



le - 
shall 



t :d' 

p m 

lu - jabs 
crown the 

rl :A\ 



:s 



H. E. PALMER. 



[ : 

rang, 
d..y: 

t : 

S I 



d :-.n|s Is 
d :- .PI |s is 

When Je-ho - vah's 
God will make new 

d S m|s :s 
d : .mis Is 



1 :d Id' : 


n :-.r'|d' :r 


d 1 :t 


d' I 


d 1 


1 jai |fli j_ 


s :- .f m :f 


PI Ir 


PI I 


f 


work be - gun, 
heav'ns, new earth, 


Wheu He spake, and 
Songs of praise shall 


it was done, 
hail their birth. 


A 


1 *d |d 


d *~ t | d 11 


s Is 


s : 


1 


1 *d' d' I 


d' :-.s|i :f 


s Is 


Id :- 


f 



d> 

PI 



men 
S 

d 



THIKD STEP. 



KEY C. 



L. M. GORDON, by per. 



n I |s I 


f :- 


Is :- 


r I 


g 




n : 


Id :- 


n 


I 


s I 


Sweet the 


chim 


ing, 


! 


till the 




tim 


ing, 


Glud - ness 


d I |n : 


r I 


r I 


r I 


t, i- 




d I 


d I- 


d 


I 


n I 


d Ir |n If 


8 II 


|t Id' 


t 11 


s If 




n Ir 


d It, 


d 


Ir 


n If 


Stee-ple bells with 


joy - ful 


chim -ing, 


Stee - pie clocks \\ith 


care - fnl 


tim - ing. 


Ush - er 


in the 


d I- |- I- 


r I 


- : 


S, I- 


I 




d I- 


I 


d 


I 


9 


Sweet 


bells 




chim 


ing, 




Glad 


, C , | _ , 


r : 


8 I 


d :- 


J 




a * - _ 


S I 


S 


j 


S I 


fill ing 


all 


the 


air. 


Chil - 


dren 


sing 


ing, 


r : r : 


r : 


it, I- 


d I- I 


r Ir 


f If 


n 


If 


8 .PI 














Chil-ilren's voi - ces 


car 


- ols 


sing - ing, 


s :l |t id 


t 11 


8 If 


n I 


- I 




t It 


r' Ir 1 


d 1 


Ir' 


n' Id' 


Christmas rhym-ing 


on the 


si - I nt 


nir. 












r :- 1- I- 


s, I- 


; 


d I- 


I 




S I 


s I 


d 


I 


d ;- / 


hearts 


mnk 


- 


ing. 


Chil 


dren sing - ing, 


S a a o 
D a 


I n I 


s :- 


f : 


s I r 


In |f Is 


1 It 


|d' i- 


I An - gels wing - in<. 


5, Ti - dings 


bring - 


ing, F 


eace and gladness 


ev - ry 


- where. 


\ r ?r f If n If s 


In d i 


n I 


r I 


r I r 


In f Is 


1 It 


|d' I- 


/ An-gel bands tliro' hcav> n wingiii'.', To the earth goo., 


ti - dings 


bringing, F 


eace and gladness 


ev - 1 ry 


- where. 


) t It r 1 Ir 1 d 1 Ir 1 n 1 


Id 1 d Ir 


,x> 


8 11 


|t Id' t 


11 |s If 


n Ir 


Id I- 


1 s I s I d I d 


I d Ir 


n If 


s :l 


t Id" t 


11 |s If 


n Ir 


d I 


VAn - gels wing - ing. 













KEY D. 



NEVER SAY FAIL. 



CHESTER G. ALLKS. 



:n 


n I- 




d In 


G * 


n Is 


1 Id 


t 11 


s I 


^~* * Q 


J 


|f 11 


:a 


d i- 


|d Id 


n I 


d In 


f 11 


s If 


n I 


In 


f I 


d If 


U.Keep 


work 


- 


ing, 'tis 


wis 


er than 


sit 


ting a - 


side, 


And 


dream - 


ing, and 


<2.With 


eyes 




ev - er 


o 


pen, a 


tongue 


that's not 


dumb, 


A 


heart 


that will 


)3.In 


life's 




ros y 


morn - 


ing. in 


man - 


hood's fair 


pride, 


Let 


this 


be your 


(:s 


S I- 




n Is 


d 1 I- 


s id 


d' I- 


|d' id 


d' I 


Id' 


1 I- 


|1 Id' 


\:d 


d I- 




d Id 


d I- 


|d Id 


f I 


|f If 


d I- 


- Id 


f I- 


|f If 


s r 


n 


Is 


s I- f 


In 


r I 


- Id 


d In 


B 11 


s I 


n Is 


,q :- Id 


In 


r I- |r 


Id 


t, I- 


- Id 


d In 


5 11 


s I 


n Is 1 


sigh - ing 


and 


wait - ing 


the 


tide; 


In 


life's earn - est 


bat 


tlo thos ( 


nev - er 


to 


sor - row sue . 


cumb; 


You'll 


bat - tie and 


cou 


quer, the > 


mot - to, 


your 


foot - steps to 


guide; 


In 


storm and in 


sun - shine, what-I 


d' :- ! 


s 


Is 


s I |s 


Is 


S I 


Id 


d In 


3 11 


s I 


n is 


d :- i 


d 


Id 


t. :- |t, 


Id 


i 


- Id 


d In 


3 :1 


s : 


n Is 



THIRD STEP. 



47 



1 


; 


in Id 
m Id 

ly pre - 
ands as - 
er as - 


r : 

t, : 

vail, 
sail, 
sail, 


1 


Is 


on - - 
thous - 
ev - - 


1 


Is 


PI 
PI 


IPI 

Id 


S I 
S, I 


1 Is 



Ir 


n :- 


lt| 


d :- 


Who 
We'll 
Then 


dai - 
on - 
nev - 


Is 


S I- 


Is, 


d I- 



|f Is 


1 I 


Id' ;i 


8 I 


|ti Id 


d : 


|f if 


PI I 


ly march 
ward and 
er, oh, 


on - - 
con - - 
uev - . 


ward and 
quer, and 
er, oh, 


nev 
nev 
nev 


s Is 


f I- 


|1 Id 1 


d 1 I 


r In 


f :- 


|f If 


s I 



|1 


:t 


d 1 : 


If 


if 


m : 


er 


say 


fail. 


er 


say 


fail. 


er 


say 


fail. 


|r' 


Ir 1 


d 1 I 


In 


Is, 


d I- 



13O. KEY C. 

:d m : |R if 
Id d I |d Ir 

l.Our Fa 
2 Our voic 
3. So long 

In 
:d 



s I |PI Is 
m : |d IPI 



ther we 
es would 



thank 
nt 



as thou deem - est it 

I Is Id' d 1 I Is Id 



d I |d Id d I |d Id 



MORNING HYMN. 




1 I- 


n 


d 1 I- 




f I- 


- if 


1 :- 


r 

y 


sleep, 
praise, 
right, 


For 
Our 

That 


qui 
hearts 
here 




d 1 I 


Id 1 


d 1 I- 




f * 


:f 


f I- 



T. F. SEWABD. 


|t :l 
s :f 


s : 

n : 


s :n 
PI :d 


et and 
would o'er - 
on the 


com - fort and 
flow with thy 
earth we should 


d 1 :l 


d' i- 


d' :s 


f :f 


d : 


d IPI 



r :- 1- 
t, :- I- 

rest, 
love, 

stay, 



s ! 



Id 


PI I 


PI If 


s IPI 


f Is 


1 I- 


Id 


d I |d Ir 


PI Id 


r In 


f I- 


We 


thank 


thee for 


lov 


ing to 


keep 


O 


teach 


us to 


walk 


in thy 


ways, 


We 


pray 


thee to 


guard 


us by 


night, 


In 


s : 


s Id' 


d 1 I 


d 1 Id 1 


d 1 :- 


Id 


d I |d Id 


d I |d Id 


f i- 



ll 


s I 


d 1 I PI' 


If 


PI I 


|PI Is 


Thy 

And 


chil 

fit 


dren from 
us to 


And 


help 


us to 


Id 1 


d 1 I- 


d 1 Is 


If 


s I 


s Is 



r' S |d' It 


d 1 I 


f I- 


n Ir 


n I 


be - - 


ing dis - 


tressed. 


meet 


thee a - 


bove. 


serve 


thee by 


day. 


S I 


S'o 
o 


S 



s, I- 


S, IS, 


d I 



Id 1 


d 1 I- 


t 11 


d 1 I 


!n 


1 I- 


s If 


1 I 


o 


how 


in their 


weak 


The 


heart's 


pure af - 


fee 


And 


when 


all the 


days 


Id 1 


d 1 I- Id' Id 1 


d 1 I- 


d 


f I- 


f If 


f I- 



d 1 : 


It :l 


s 


m :f 


1 : 


s :f 


PI : 


[d :r 


weak 


ness can 


crea 


tures re - 


fee 


tion is 


all 


we can 


days 


of our 


earth 


Life are 


d 1 :- 


d' :d' 


s : 


s :d" 


f : |f :f 


d : Id :d 



P1 I- !- 

pay 

give; 
past, 

d' :- |- 
d i- I- 



:d' 


n 1 : 


r 1 Id 1 


PI 1 I 


r 1 Id 1 


t I [1 It 


d 1 


:m 


s : |f In 


S """ 


|f In 


r I Id Ir 


PI 


Thy 


fath 


er - ly 


kind 


ness by 


night and by 


day. 


In 


love's 


pure de - 


vo - tion O 


help us to 


live. 


Ke - 


ceive 


us in 


heav 


en to 


praise thee at 


last. 


:d" 


d' I 


8 IS 


d' I- 


s Is 


s I |s Is 


S 


:d 


d I- |d :d 


d : 


d Id 


s, I |s. Is, 


d 



p I 



THIKD STEP. 



HOW SWEET TO HEAR. 



14O. KEY JLJ>. 


( S 

M. flow 

A A - 
]3. With 


n : :f |s : : 
d : :r |n : : 

sweet to hear, When 
hove doth float The 
flow - ers sweet This 


: : | : :s 

ring - ing clear, At 
cue - koo'snote, O'er 
gay re - treat Kind 


/: 


: : I : :d 


m : :f |s : :s 


\Thro' 
O'er 
When 


: : I : :d 


d : :r | PI : :d 


: : | : :r 

rust - ling trees, The 
vale and hill lie- 
la - bor'sdone, To 




r : :r |r :d :r 


mel - low, mel - low 
sounds the mel - low 
hear the mel - low 


:r 


s : :1 |t : :s 


s : :s |s : :s 


:r 


t| : :r s : :s. 


s * 8| S| ; is 


l-il. KEY D. 


m ~ 
(I s 


= 

:f PI :- 


p '. = 

f :m r : 


ilr 


- ing leaves. 

:r |d :- 


fall - ing leaves, 

r :d it, : 


n PI :f s Is 

) While the an - tunin 

(|d :r PI In 


1 "It |d' : 

breez - es blow, 

f :f PI : 


14J. KEY D. STACCATO AND LEGATO. 


Staccato. 


f 

ill 


t t t 

Is s Is 

la la la 


t t t 
d 1 :i |s : 

la la la, 


t 

Sl r 


f t f f f T 

:r |r Im If :PI r : 


jLa 


la la la 1 la la la, 





43. KEY A, 


i|8| :i :t| Id : :t|j,|s, :i, :t, i : 

L ITrip, trip, trip, ' trip, Lightly' trip.trip.trip, trip, 









T. 


F. SEWABD. 


d 1 :- 


:s |s :f 


:m 


r : 


: f : :r 


s : 


:1 |t :- 


Pi : 


:PI |n :r 


:d 


t, :- 


:- 1- :- :t, 


t, :- 


:r s :- 


eve 


or car - 


ly 


morn, 


Bornt 


on 


the breeze 


fields 


of wav - 


mg 


corn, 


But 


sweet 


- er still, 


na 


ture doth 


a - 


dorn, 


And 


oft 


we come, 


s : 


:d' |d' :- 


:s 


s : 


1 
1 


: 


: | : 


d :- 


:d |d :- 


:d 


s, : 


: | : : 


: 


: | : 



n : ; 


-':-':n 


n : :PI 


f :- :f 


\ 
Pi : : | : 


horn, 
horn, 
horri, 


The 
The 
The 


mel - low, 
mel - low, 
mel - low, 


mel - low 
mel - low 
mel - low 


horn, 
horn, 
horn. 


s : : 
d 


: :s 


d 1 :- :d' 


|1 :-:! 


s : : | : 
. i 



r 


In f :f 


s :f m i 


Ti-ll 
t, 


how sad - ly 

:d r Ir 


na - tnre grieves; 

PI Ir |d : 


m H 


. 


P : 


d 1 


:l s :- 


s :f m I 


Soft 


and low, 


soft and low. 


n 


If m I 


n Ir |d I 


Legato. 






I 


Is |f In 


r I | : 


La 






8 


If n Ir 


d : K : 


La 






si :1 



it d It) Id 


r In Ir d : : 


Glide 


a - long in 


dance and song. 



THIRD STEP. 



49 



MY MOUNTAIN HOME. 



144. KEY I). M. 90, beating twice. 



Words and Music by A. S. KIEFFEB, by per. 






JPI 

I.I 

2. For 
S.'Tis 
4. My 


s JPI Js | 


1 J Js 


a ' 

D t 

n J J 

home, 
sweet 
here, 
me, 


J Jr .PI 


f m 


Jf 

Jr 

winds 
a - 
ains 
winds 


l g 

i J Jn 

love to 
round my 
cool and 
wan - der 


n J J 
d J J 

roam ! 
feet, 
clear, 
free, 


:- 


PI Jd JPI |f J JPI 


j :t,.d 


r Jd 


love my mount - ain 
here the wild now'rs 
sweet to wan - der 
mount - ain home for 


Where 
Spring 
By 
Where 


wild 
up 
fount - 
wild 


Jd 1 


d' J- Jd 1 |c 


I 1 J 


Jd 1 


d 1 J J 


J Js 


o 


.S 


S . .S 


S J J 


t 


Id 


d J Jd c 


I :- 


Jd 


d J J 


- :- :, 


8, J 


:n 


S, J- JS, 


d J J 


1-:- 


Jn S s J Is 
/Jd j* PI j Jn 

\\Vherctbe cy - press 
JAnd the Lm - rel 
\ And talk of 
yWith my own true 


d 1 J Jd'.d 
n J In. PI 

vine and the 
blows 'mid the 
love where thf 
love, who will 


r 1 J Jd 1 
f J Jf 

whisp - 'ring 
cy - press 
coo - ing 
nev - er 


f : :f 

pine A - 
gloom Of 
clove A - 
rove, My 


S J 

PI J 

dorn 
many 
lone 
mount 


each 
a 
may 
- ain 


s Jf Jr 


d :- :- 
d J J 

dome, 
treat, 
hear, 
me. 


j- 


|t| : :t) 

gran - ite 
sweet re - 
see and 
home for 


(:s s d'J Jd 1 


S J 


- Js.s 


1 J Ji 


d 1 J Jd 1 


d':- 


Js 


s ::f 


n J J 


j 


:d ,<i d; :d 


d J- 


-:d.d 


f J- Jf 


f J- Jf 


s : :s 


Is, :-:, 


d :-:- 


j 


CHOR 

IB 

:n 

i 


CIS. 

s JPI Js 


d 1 :- 
PI : 

mount - 
love 


:t 
Jr 

ain 

my 


d 1 : :- 


s J Jrn 

PI J Jd 
.1 


1 :- 
f :- 

love 


Js 

my 
I 


f J Jn 
d J Jd 

mount - ain 
love my 


r* 
. 

t 

l/| *~"~ 

home, 
mount - ain 


home, 


n Jd JPI 


d J J 


love my 
I 


home 


mount - aiu home, 


:' 


J Jd 


S J- 

d J 


Jf 

Jd 


PI J JS 

d J Jd 


d 1 J J 
d : : 





JPI |1 J JS 

Jd |d J Jd 


'r 'r' 

S . b .1 


s J 


s, :- :s, 


jf 
Jr 

Where 


PI Jr JPI 


s J 
PI J 

blue, 


Js 
JPI 

and 


1 J Jf 

f f 
i .i 

hearts are 


d 1 :t :l 


S J 

PI J 

love 


Jn 
Jd | 

my i 


s Jf Jr 


d : : 

home. 


J 


d :t, Jd 


1 JS Jf 


t, J- Jt, 

nount ain 


skies are 


true, I 


: 


s J- Js Id 1 J Jd 1 


d' J :l |f : :l 


d' :- 


Js 


s : :f 


n : : 


J 


:s, 


dJ Jd 


d J 


Jd 


f j- jf |f j :f 


s J 


Js I 


s, :- :., 


d J :-> 


J 


nr;. KEY c. 


Round for two parts. 


T. F. S. 


us : id 1 it :- 

(iWill the jvio - 


let 


s J Jl s J- 

bloom a - gain, 


- JP1 f J Jf 

Where now the 


If :n Jf 1 :- Js s : 


___ 


1 drift 


- ed snow is pilec 


[lOn the thill 


- Jf 

side, 


PI:- Jf n J- 

in the glen, 


- Jd r J Jr 

Where blows the 


r Jd Jr |f J Jn n J 


? 


wind 


so | bleak and wild 



10 THIRf) STEP. 


SUNSHOWER. 


14 0. KEY A. M. 72. T. W. DENNTNOTON, b; 


f m f 'a A 


d ,t| .d ,1| is. 


*A A 


r ,r .n ,n Ir 


pi,,ri .d| ,r, :pi| .PI, 


I, ,1| .1, ,f, :m. 


pii,pii.pi,,n t :8| .s. 


S| ,S| .S| ,S| IS) 


1. Sparkling in the sunlight, 
2. Clouds are flying swiftly, 


Dancing on the hills, 
Sunlight breaking through, 


Tapping at my win - dow, 
Everything is shin - ing, 


Singing in the rills; 
As with morning dew; 


d ,d .d ,d :d .d 


d,d .d ,d :d 


d ,d .d ,d :d .d 


t, ,t| .d ,d It) 


d|,d| ,d| ,d) :d| ,d| 


f,,f, .f. ,f, :d, 


d| ,d| .d| ,d| !pi| .HI 


8| ,S| .d ,d I8| 


s ,f .PI ,f Is .PI 


d ,d .d ,PI If 


f ,f Jf ,f :PI j 


d ,t| .n ,r Id 


S, ,S| .8, ,8, IS, .S, 


pi|,pi| .PI, ,s, :1| 


1| ,1| J| ,1| IS; .8) 


S| ,S| .8) ,f| IP1| 


Conies the pleasant sunshower 


Like a glad surprise, 


While I gaze with wonder 


At the changeful skies. 


Falling on the mount- ain, 


In the fer-tile vale, 


Giving joy and glad - ness, 


Comes the gentle rain. 


n,r .d ,r :PI .d 


d ,d .d ,d :d 


d,d .d ,d :d S 


n ,r .d ,t| Id 


d,d .d ,d:d .d 


d,,d,.d, ,d,:f, 


f f f f Q 

I| ,I| .I| ,1| ,S| ,S| 


8, ,8, .8, ,8, Id, 


,8 ,P1 IS ,P1 


d J, :d 


8| .d In ,s 


f .n Ir 


/ Pat - ter, pat - ter, 


hear the rain, 


Gen - tie spring has 


come a - - gain; 


\ d ,d .d ,d :d ,d .d ,d 


i .1 .1 .1 :si 


P1|,P1|.S| ,S| S ,S| ,S| ,S| 


t .t .d ,d It| 


' Patter, patter, patter, patter, 


Listen to the rain, 


Patter. i>attter, patter, patter, 


Spring has come again; 


) PI .S IPl .8 


f .f :n 


d .n Is .n 


r .d It, 


/ Pat - ter, j>at - ter, 


hear the rain, 


Gen - tie spring has 


come a - - gain; 


( di di di di Idi di di di 


f,,f, .f, ,f, :d, 


di di di d *di di di di 


8| ,S| ,S| ,S| >S| 


' Patter, patter, patter, patter, 


1 91 **l 91 1 

Listen to the rain, 


Patter, patter, patter, patter, 


Spring has come again; 


s .PI is .PI 


d J, :d 


8| ,d In .r 


d .t Id 


Pat - ter pat - ter, 


soft re frain, 


Tap - ping on the 


win - dow - pane, 


d ,d .d ,d :d ,d .d ,d 


li ,1) .1| ,1| :si 


ni,ni.S| ,S| I8| ,8| ,1| ,1| 


S| ,8) .S, ,8| IS, 


Patter, patter, patler, patter, 


liear the soft refrain, 


Tapping. tapping, tapping, Upoinp 


on the window pane. 


m .s :m .s 


f -S In 


d .n Is .f 


n jr In 


Pat - ter, pat - ter, 


soft re frain, 


Tap - ping on the 


win - dow - pane, 


d|,d, .d, ,d|Id| ,d, .d| ,d. 


fj ,f| .fj ,fj *d| 


d|,d| ,d| ,di Id) ,d| .f| ,fi 


8, ,8, .S| ,8| Id, 


Patter, patter, patter, patter, 


hear the soft refrain, 


Tapping, tapping, tapping, tapping 


on the win-dow-pane. 


147'. KEY 1). Round for three parts. 


(is :- .f m :l 


s :- S |n : 


n .n In |n .n II 


s :- s |n : 


[ 1 Chairs to mend, old 


chairs to mend? 


Bush and cane bottoms, old 


chairs to mend? 


* 


(in :- j d :f 


n :- j d : 


d id .d |d If 


n :- jr |d : 


{ 1 Mack - er - el, fresh 


mack - er - el? 


Just from the sea, fresh 


mack - er - el? 


jld d .a .d d .d :d .d 

\ (Here s a chance lor bargains with your 


d Id |d'.d' Id'.d'ld :d' |d :d' 

cast - off clothing and yourj old hats, old boots. 


d .d :d .d |d' 4': 

rags and empty bottles. 



THIRD STEP. 


I4. KEY A. M.72. SERENADE. 

i ~ 


:m .m 


n :d :d .d 


d iS| 


. 

!S| J3| 


. 
S| .8) !8| lS\ 


^==^^ 

B| 


MM 


:si .si 


* f f 


HI IP\\ 


:HI ^i 


8| ,S| !S| !f| 


n. 


: 


1. Sleep on, 


dear - est, while a - 


round thee 


All is 


wrapt in si - lence 


deep; 




2. To the 


cham - ber of her 


dwell - ing, 


Where my 


love in slum - ber 


lies; 




3. And the 


woo - ing night wind 


bears them 


Far a - 


way o'er dis - tant 


plain; 




:d .d 


d is\ :1| .1| 


si :d 


:d j- 


n .n In :r 


d 


; 


;d| ,d| 


**l l I * I 


di idi 


; 


di .nil isi .81 ls\ .Si 


d, 


; 




All is wrapt in si - lence deep; 






Where my love in slum-ber lies; 






Far a - way o'er dis - tant plain; 




JS| ,S| 


1| J .d !t| .1| 


si :d 


:d .n " 


f 

s :- S :n j 


m 


^_ 


While the 


chains of sleep have 


bound thee, 


God doth 


con - stunt vig - ils 


keep, 




Thro' the 


trees in love-tones 


tell - ing, 


As on 


gold - en lad - ders 


rise, 




And the 


dream - - ing fair one 


hears them, 


Hears and 


sweet - ly dreams a - 


gain, 




Jnii ,ni| 


f| J J| IS| J| 


HI Ipi| 


JP1| .Sj 


t| I- ,t| Id ,S| 


S| 


; 


J 


d .d :d .d :d .d 


d !S| 


; 


r j: :r jr :d .t| 


d 







While the chains of sleep have 


bound thee, 




God doth constant vig - ils 


keep, 






Thro' the trees in love-tones 


tell - ing, 




As on gold - en lad - ders 


rise, 






And the dream-ing fair one 


hears them, 




Hears and sweetly dreams a - 


gain, 







fj ,f| Jf| ,f| Jf| ,f| 


di :d| 







S| S| S| .S| ,S| S| 


d, 

- 





In ,n 


d : id~ 


T~ : 


:d .d 


S| : :si 


., 

BI 


j 


Con-stant 


vig - - - ils 


keep, 


Con - stant 


vig - - - ils 


keep. 




As on 


lad ... ders 


rise, 


As on 


lad ... ders 


rise. 




Sweet-ly 


dreams a - - 


gain, 


Sweet-ly 


dreams a 


gain. 




; 


I| ,I| 1| ,1| S| ,I| 


mi : 


; 


i'i .HI S| .f| *ri| TI 


n. 


; 





God doth constant vi - ils 


keep, 




God doth constant vig - ils 


keep. 




r 


As on gold - en lad - ders 


rise, 




As on gold - en lad - ders 


rise. 






Hears and sweetly dreams a - 


gain, 




Hears and sweetly dreams a - 


gain. 






1, J, :d .d :t, .1, 


BI : 


; 


t| .d :m .r :d .t. 


d 


; 


\ ^ 


f, J, :f, .f, :f, S { 


d, :- 


* 


S | S | S | *S | a | O | 


d, 


\ 


14O. KEY Ai?. EVAN. C. M. W. H. 


HAVEBGAL. 


lB\ 


s, .d :m :r 


d-i ( 
,1| .S| 


is. 


si .d :n :d 


r 


I 


!RI 


f 

P1| .P1| *S| I| 


HI .fl Jpll 


Inii 


nil .HI IP\\ *ni| 


BI 


: 


l.Lord, 


I be - lieve a 


rest re - mains 


To 


all Thy peo - - pie 


known 


; 


2. A 


rest where all our 


soul's de-sire 


Is 


fixed on things a 


bove, 




3. Oh, 


that I now the 


rest may know, 


Be - - 


lieve and en - ter 


in; 




:d 


d .d :d :t. 


d .d Id 


:d 


d .d :d :d 


t| 


: 


:d, 


d, ,d, :d, :s. 


1, .fi :d. 


:d, 


d, .d, :l, :l, 


8| 


I * 


:f 


n .r :d Ir 


m .d :1, 


:s. 


s, .d :m :r 


d 





IS; 


S| .f| I Pl| !S| 


S| .s, if. 


r i 


ni| .HI is, i^ 


m. 


i 


A 


rest where pure en - - 


joyment reigns, 


And 


thou art loved a 


lone. 




< Where 


fear, and sins, and 


grief ex - pire, 


Cast 


out by per - feet 


love. 




Now, 


Sav-iour, now the 


pow'r be-stow, 


And 


let me cease from 


sin. 




:r 


d .t, :d :t, 


d .d :d 


it| 


d .d :d :t, 


d 


i 


lit 


di .8) :1. :si 


di .ri| :f| 


III 


d| ,1| :s ; :sj 


d| 


:' . 



THIRD STEP. 



ISO. KEY Bb. 

n :r |d :t, 
Now ths eve - ning 
: 1 : 

( : ; : 

,- :1, Ir :d 

I No long -er 
\f, :m, |r, :- 

< foot - steps home, 
r :d |t, :1| 
/' l.ird of twi - light 

\ r, : | :n,.f, 


tf. 104. May be sung in 
1, :- |- :t,.d 


two, three or four parts. 
r :d |t, :1, 


s, :- I- 

calls 

s, : f, | PI, 

bird of twi - 

PI :r |d 
Now the eve - 

: 1 

1, :- |- 
falls, 
1, :s, If, 
now the eve - 

:1, Ir 

No long 

f, : nil I', 
foot-steps home, 

t, :- 1- 

roam. 

No long - 

s, : I 

calls 
s, :f, |n, 
bird of twi - 

d :t, |1, 
foot -steps home, 
d, : | 
calls 
1, :- 1- 
falls, 
1, :s, If, 
now the eve 

U, :t, 

long - er 

if, :- 
- er 

H, :s, 

long - er 


:!,* 


.BEETHOVEN. 
d :t, |1, :- \ 
footsteps home, 
d, : | :r,.pJ 
calls Our \ 
1, :- |- :t,.d 


falls, The 

Now the eve - ning 
: 1 : 

: 1 : 
t, :_ _ :d.r 


bird of 

r ( : 

falls, 

n :r 

now the 
PI, : 


twi - light 


Our 
light 
ning 

:t,.d 


The 

I : 

|d :t, 

eve - ning 

1- :f, -s, 


falls, The 1 
1, : s, f, : PI, 
Now the eve - ning 

r :d |t, :i, 
bird of twi - Mght 

r, : | :m,.f 


roam, For 
:r, Is, :f, 
No long - or 
s : :1, .t, 
calls Our 

bird of twi - light 

d :t, |1, : 
foot-steps home, 

calls Our 

1, :- - :t,.d 


The 

ning 
:d 
- er 

;d.r 

For 
er 


roam, For 
d :t, |1, : 
foot-steps home, 
di 1 tr, .ni| 


falls, The 
roam, For 
No long - er 

P) :r |d :t, 

now the eve - ning 

PI, : | :f, .8, 

roam, For 

d :t, |1, :- 

foot - steps home, 

di ' | :r, .PI, 
calls Our 

:1, Ir :d v 
No long - er 
f, : PI, |r, : / 
foot - steps home, 

r :d |t, :1, f 

bird of twi - light \ 
falls, The" ' 

~ | ' 

^ * 
+ 

j .^. 


-falls, The 

/ s, : | :1, .t, 


calls Onr 

- :1, r :d 

No long - er 

f, :n, r, : 

foot-steps home, 
r :d |t, :1, 
bird of twi - light 

r, : : pi, .f. 


1 calls Our 

\ 8, :f, | PI, :r, 

/ bird of twi - light 

] m :r |d :t, 
/ now the eve - niug 
( m, : 1 :f, .8, 


falls, The 
now the eve - ning 

r :d |t, :1, 

bird of twi - light 
falls, The" 

t, : :d .r 


Our 
light 

:r,.m 

Our 

:t,.d 


roam, For 
1, :- |- :t,.d 

1 falls, The 
( ' now the eve - ning 

/ No long - er 
If : n, |r, 
foot-steps home, 

t, : | :d 


falls, 

s, : 

calls 
s, :f, 
bird of 
PI :r 
now the 
PI, : 
roam, 

- ning 
:f| -S, 


The 

1- :1, -t, 
Our 

| PI, :r, 

twi - light 

Id :t, 
eve - ning 
1- :f, -8, 
For 

1, :!, 

falls, No 

1, :s, 


roam, For 
No long - er 

.r PI :r |d 


The 

: PI, 

ning 

d 

roam. 
PI, 
roam. 
Si 
roam. 

d, 

roam. 


roam, For now the eve 
No long - er roam, 

1 1 f rt f 11 
8| . . 1 , 1, Q. .1, |1, 


No 

:r, .PI, 


long 

No 
f, : PI, 


calls Our foot - steps home, 

S| :fj |n, :r d, : | 

bird of twi - light calls, 


No 


long - - er.., 



THIEP STEP. 
EVENING PRAYER. 



151. KEY At?. 



J. H. TENNET. 



c. _ Q, *o. /I m ! 

:oi .o| B| ,u n r 


d : : 


d :t, :l, s, : : 


P1| 1 ,P1| IS| ,S| S| ! If) 


PI, : : 


l, :BI :f, PI, : : 


I.God, who mudest earth and 


heaven, 


Dark - ness and light, 


'2. Guard us when we >leep or 


wake, 


And when we die, 


d :- .d :d ,m d : :t. 


d : : 


d :d :d d : : 




d, : : 


fi :f, :f d, :- : 


S| t ,S| iS| ,d PI 1 Jr 


d :- :- 


r :d :t d :- :t, .d 


PI, :- ,pi| :s, ,S| s, : :f] 


m 
P1| . 


19 -P f 
| S | I PI | t S | S | 


Who the day for toil has 


given, 


For rest the night: May thine 


Wilt thou then in nier - cy 


take 


Our souls on high? When the 


d :- .d rd .m d : :t| 


d :- :- 


f :m :r d :- :r .d 


d, :- 4,:m,^ s, :- :s, 


l, :- :- 


f, :s, :s, d, :- :s, .PI, 


r J- .r JPI .r 


r :d 


:d .r 


m :- 


.n :f .PI 


m :r Ir jc 




fi :pi| 


J PI i ,f | 


si :- 


.s, :si ,S| 


si :si :s, .si 


/ an gel guard de - 


fend us, 


Slumber 


sweet 


thy mercy 


send us, Ho - ly 


last dread call shall 


wake us, 


Do not 


thou, 


our Lord, for - 


sake us, But to 


t| J ,t| Id ,t| 


d :d 


:d .d 


d :- 


.d :r .d 


d :t, :t, .t| 


^ S| J- ,S| JS| ,S| 


di :d| 


:d| .d, 


d :- 


.d :t| ,d 


s, :s, :s, .s, 




f :m 


: r d s 


r :- .r :d ,r 


n :d 


t 


1, IB 


:s. 


8| 


BI :- ,S| :si ,S| 


s, :l. 


1 


f, IB 


:fi 


PI, : : 


dreams and hopes at - 


tend us 




This live - long 


night. 


reign in glo - ry 


take us 




With thee on 


high. 


t| J ,t| Id ,t| 


d Id 


: 


d :d 


:t. 


d : : 


S| J- ,f| IPlj ,r| 


d, :f, 


j 


f, :m 


i :r i 


d, : : 


Small notes for second verse. 1| :S| 


:s, d, : 


145S. KEY F. Round for three parts. 


- 


T. F. S. 


is :f :m m :f j s 


1 :-:-|l 


: : 


f :n :r |r :n :f 


s : : s : : j 


| Banish all trouble and 


sor - row 




Why should we foolishly 


borrow ) 


|n:r :d |d Jr :m 


f. . ^ 


j__ 


r :d :t 


|t, :d :r 


m * I ) 


. I I 


PI . f 


(Care that is coming to- 


mor - ro\v 


? 


Let us be 


happy and 


gay; ) 



II 



S| !S| is, |d :d :d 

Don : t be a slave to the 



: : |d :: Is, IB IB |f :n :r id ::! 

r - row, I Losing the joy of to - | day. 



54 



THIRD STEP. 



WAKE THE SONG OF JUBII EE. 



H&3, KEY I>. M. 112. Boldly, without ilragging. 


CHESTER G. ALLEN, by per. 


d 1 It |d' I-J 


s :- S 


n : 


r in |f 11 


s Im 


r I 


s I- .s 


8 I 


n If 


s :-.f 


n I- j 


d I 


t, Id 


r If 


n Id 


t, :- 


i 


Im 


Wake the song of 


ju - bi -lee, 


Let it ech - o 


o'er the sea, 


Wake the song of 


s Is 


s I- .d 1 


d 1 I- .s 


s I 


8 IS 


8 IS 


s Is 


8 I 


I 


Id 1 


d Ir 


n I-.f 


8 I- fS| 


d I 


f in 


r :t| 


d in 


S I 


8 1-3 


s : 


1 - T_ * 


_ * ^^ 


S S 


s Is 


[ 


_ * _ m 


d' It J 


s Im 


1 Is S 


n : 


r :m 


f Ir 


I 


I 


r In |f Ir 


d' it a 


s Im 


1 Is~JF 


n : 


, ju - bi - lee, 


Let it ech - o 


o'er the 


sea, 


Wake the song of 


ju - bi - lee, 


t id 1 


r' It 


I 


I 


t Id 1 


r 1 It 


d' it a 


s Im 


1 Is.f 


n : 


I 


I 


S I- .8 


s Is 


I 


I 


d' :tj 


s Im 


1 IS.f 


n : 


f Is 


1 ir' 


d 1 It |d' I ' 


> 
P 


: 


: 1 : 


p ' 


: 


d Id 


d If 


n If 


n I 


d Ir 


n I- .f 


n Ir |d I 


f In |1 Is 


Let it ech - o 


o'er the sea; 


Now is come the 


promised hour, 


Je - sus reigns with 


1 IS |f 11 


s Is 


8 I 


n Is [d 1 I- J 


8 If 


n I 


1 is f In 


, f :m |f ir 


8 IS| [d I 


: 


: 





: 





: 


P 


P 


I : 


j 


t Id' 


r' It 


d 1 Ir' 


n' I- 


d' It |1 Ir' 


d' It |d' I 


If :n 


r I 


r In |f Ir 


8 IS 


s I 


n Is |f If 


m If 


m I 


( sovereign pow'r. 


All ye ua - tious 


join and sing, 


Christ is Lord and 


King of kings. 


/ t Id' |t I- 


s Is 


8 IS 


8 It 


d' I- 


d' Id' |d' 11 


8 IS 


s I 


\ : 





8 IS 


S IS 


n Is 


d 1 I- 


d Im 


f If 


S IS| 


d I 


/ ff 




d' IB |1 It 


d' Ir 1 


n' I- 


d' It |1 Ir' 


d' It 


d' I- 


S I- .8 


8 8 


n In 


f If 


n.sls 


8 I 


n Is 


f If 


n If 


n I 


I 




Let it sound from 


shore to shore, 


Je - SUB reigns for - 


ev - er - more. 


All ye ua - t ons 


8 Id 1 |d' IS 


S It |d' I 


d' Id' |d' 11 


s Is 


s I 


i 




d Id |f Ir 


d .nls |d' I 


d In |f If 


8 I8| 


d I- 


8 I- .8 


8 8 


g 


I 


8 I- .s 


s Is 


8 I 





d> it a 


s In 


1 I8.f 


n 


r :m 


f Ir 


. 


In 


r In |f Ir 


d' ItJ 


s Im 


1 IS.f 


n 


join and sing. 


Je - BUS is the 


King of 


kings, 


Let it sound from 


shore to shore. 


t :d' 


r' It 


J 


Id' 


t Id' 


r' It 


d' ItJ 


s In 


1 IB_J 


n 


s : 


- J 


? :-,8 


8 IS 


s :- \ 


; 


d 1 ItJ 


s :n 


I IBS 


m 



THIRD STEP. 



f :s |l :r> 


d 1 :t |d' : 


, i 
. 


d :d |d :f 


n :f |m : 










Je - BUS reigns for 


ev - er - more. 




1 :s |f :i 


S IS |S t 














mezzo. 


f :m |f :r 


s :s, |d : 


d Ir 


m Id 



_ 

lands re - joice, 



:t, |d :m 

And the isl - ands 



r :d |s, 

join their voice, 



f :m |r :d 

Yea, the whole ere 



: 1 : 










: 


: 














I 






; 


; 


















1 IsJ 1 


PI I^~* 


f Ir 


PI If 


s Is, |d : 


a - tion sings, 


Je - sus is the 


King of kings ! 



r 1 Id 1 

lands re - 
f IP1 


t I- 

oice, 

r 
r 


. 





r 1 Id 1 

join their A 
f IP1 


t 

roice ; 

r 


S I 


I 


S I- .S 


s Is 


S I 





lands, 


And the isl - ands 


join 


S I 


^~ 


S I- ,S 


s is 


Q * 






d 1 It .1 

d 1 it a 


S I PI 

s Irn 


1 Is ,f 
1 is .f 


PI I 

PI I 


f IS 

d Id 


1 Ir' 
d If 


d 1 It 
PI if 


PI I 


Yea, the -t 

d 1 It .1 


vhole ere - 
S I PI 


a - tiou s 
1 IS .f 


ings, 
PI I 


Je - sus 
1 IS 


is the 
f 11 


King of 

s Is 


kings. 

s :- 


d> it a 


s In 


1 IS .f 


PI I 


f IP1 


f Ir 


S IS| 


Id :- 



THE LORD'S PRAYER. 



1S4. KEY F. 














H 


t, Id 


r I 


r 


PI Ir 


d It, 


d : 


S| 


S| !S| 


t, I- 


t, 


d :l. 


S| IS| 


s, I- 


1. Our Father who art in heaven, hallowed 
2. Give us this day our 


be Thy 
dai ly 


name; 
bread ; 


Thy kingdom come, Thy will be done on 
And forgive us our trespasses as we for- 


earth as it 


is in 


heaven ; 


3. And lead us not into temptation, but 






give 


them that 


trespass a- 


gainst us. 


deliver - .., - 


us from 


evil; 


For Thine is the kingdom, and the power, 














and the ........ ......tt>tf*** 


glorv, for- 


ever. A - 


men. 


PI 


f * m 


S I 


S 


S If 


PI Ir 


PI I 


d 


r Id 


S, J- 


Si 


d if, 


S| 18, 


d ;- 



56 THIRD STEP. 

The Metronome is an instrument for regulating the 
rate of movement in a piece of music. It is a pendulum which 
can be made to swing at various rates per minute. M. 60 
(Metronome 60), in the Tonic Solfa notation means, "Let the 
pulses of this tune move at the rate of 60 iu a minute." In the 
case of very quick six-pulse measure, the metronome rate is 
made to correspond, not with pulses, but with half measures 
"beating twice in the measure." 

A cheap substitute for the costly clockwork metronome is a 
string with a weight attached to one end a common pocket tape- 
measure is the most convenient. The following table gives the 
number of inches of the tape required for the different rates of 
movement. The number of inches here given is not absolutely 
correct, but is near enough for ordinary purposes. 

M. 50 Tape 56 inches. 



M. 56. 

M. 60. 

M. 66. 

M. 72. 

M. 76. 

M. 80. 

M. 88. 

M. 96. 
M. 120. 



47 
38 
31 
27 
24 
21 
17 



Remembering M. GO. Just as it is useful to remem- 
ber one tone in absolute pitch, BO also, is it useful to remember 
one rate of movement. The rate of M. 60 is to be fixed in the 
mind as a standard; then twice that speed, M. 120; or a speed 



half as fast again, M. 90, are easily conceived. To fix M. 60 in 
the mind, the teacher will frequently ask the pupils to begin 
Taataing at what they consider to be that rate, and then test 
them with the metronome. The recollection of rate of move- 
ment is, like the recollection of pitch, affected by temperament 
of body or mood of mind. But these difficulties can be con- 
quered, so that depression of either kind shall not make us sing 
too slowly. 

Sustaining the Rate of Movement. The power of 
sustaining a uniiorm speed is one of the first and most import- 
ant musical elements. To cultivate this faculty the teacher 
requires the pupils to taatai on one tone a simple measure, thus: 

| TAA : TAA | TAA : TAA || 

repeating it steadily six or eight times with the metronome, so as 
to get into the swing. He then stops the metronome while they 
continue taataing for several measures, then starts it again, on 
the first pulse of the measure, and the class can see immediately 
whether the rate has been sustained. 

The Half-Plllse Silence is indicated by the blank 
space between the dot (which divides the pulse into halves) and 
th accent mark. It is named SAA on the first half of tne 
pulse, and S',4/on the second half, thus: 

| .1 :or|l s 

SAA TAI TAA SAI 

In taataing, the silent half-pulses are passed, by whispering 
the time-name. 



135. KEY F. 

PA A TAI TAA SAI TAA TAI TAA SAI TAASAIfAASAl TAA 

1 .1 ;l . 1 .1 :l . 1 . il . 1 
m .r Id . f .m Ir . m . Id . s 
d .r I PI . r .m If . PI . Is . d 



KEY D. 



TAATAI SAA TAI 


i a i 


.1 


d.d I 


J 


PI. PI I 


.r 



TAA TAI SAA TAI TAASAISAATAI 



i a : .1 
m. PI : .f 

d .d I .t. 



1 . 



d. 



.f 



1 : 



d : 



TAA 
1 

d 1 



KEY D. 



II .1 
Is .PI 



TAA 



.d 



TAA TAI TAA TAI TAA SA A TAI 



1 .1 :l J 
PI ,PI Id ,n 



TAATAI TAATAI TAA SAA TAI TAA TAATAI 



1 .1 :l .1 

d .d 1 !s .3 



J 

.PI 



n a 

I PI .s 



d' 



KEY A. 



TAI 


TAA TAI 


TAA 


-AA TAI 


TAA TAI 


TAA 


-AA 


TAA TAA TAI 


TAA 


TAA 


TAA 


TAX 


.1 


:i a 


1 


I- .1 


II .1 


1 



~~ 


a n .1 


1 


II 


II 


a 


S| 


IS| .S| 


d 


__ A. 


:l. -t, 


d 




"" 


t| Id .r 


m 


Id 


Ir 


.t, 



TAA 



II 
II 



KEY D. Round in two parts. 
d' .d' Id' . |t .t 

Mer - ry May, 



* 

d .d 

Mer - ry 



Id 

May, 



mer - ry 

r .r 

iner - ry 



It 

May, 

Ir 

May; 



d 1 .t 

How I 

PI , 

Yes, 



II 

love 

In 
yes, 



.s 

the 



1 .t 

mer - ry 

f .f 

mer ry 



May: 

:m 

May. 



I 









THIRD STEP. 




lOO. KEY G. M. 96. 


YES, OR NO. 


LOWELL MASON. 


d :d .d d 


.d : .s. 


d 


In r S 


PI :f .m 


si :si ,S| si 


.si : .S| 


S| 


:si S| ! 


S| !S| ,S| 


1. Short speech suf - n - 
2. Time nev - er lin 
3. Deep may the im - 


ces deep 
- gers, moves 
port for 


thought to show, 
nev - er slow, 
joy or woe, 


When you, with 
While he per- 
Be in the 


PI J PI . PI PI 


.PI ' .S| 


S| 


:d t, : 


d :r .d 


d :d .d d 


.d : .si 


PI, 


:d, s, : 


d :t, .d 


/ r .d :1| r 
( s, .PI, :l, 1 

wis- dom, say Yes, 
<^ mits it, say Yes, 
(lit - tie words, Yes, 


t| 
: .8, 

or 
or 
or 


d 

No. 
No. 

No. 


: s :l 
: d :d 

Save me 
If he 
But if 


.83 JPl 

.d d :d 

from speech - es 
es - capes you, 
the utt'r - ance 


t, .d :d f 


: .r 


PI 


: n :f 


.PI PI :d 


s, J, :f, r. 


: .s, 


d, 


: d :d 


.d d :d 


s :1 .s s 
^ d :d .d d 

long, dull and slow, 
< ne'er can you know 
you would fore- go, 


: PI 

: s, 

Oh, 
If 

Eyes, 


:f .PI r .d :1 r 

IS, ,S| Sj .P1| ll 1| 

how much bet-ter plain Yes, 
you a - gain may say, Yes, 
ev - en eyes, may say, Yes, 


: .t d : 

.S, S| I 

or No. 
or No. 
or No. 


f PI :f .m PI 


: d 


:r 


.d t, .d :d f 


: .r m : 


' d :d .d d 


: d 


:t 


di f 
S| ,1| .1 1| 


: .s, Id, : 


161. KEY BJ7. 


ROBBINS. C. M. 


DAKIUS E. JONES. 


.si :l| ,l| s, : 


.d :d .d 




d : :r 


T\ ,r :d IPI 


l.pii :f| .f, PI, : 


.PI, :f, .f 




Pli I !S| i 


>i .s, !S| !S| 


1. Thy home is with 
< 2. Dear Corn-fort- er, 
3. Who made this beat 

/.d :d .d d : 


the hum - ble, 
e - ter - nal 
ing heart of 

.8, :l, .1 
.d, :d, .d 


Lord, The ^ 
Love. If t 
mine? But t 

si : :t| < 


im - plest and the 
hou wilt stay with 
hou, my heaven - ly 

1 .t, :d :d 


r :- .s, :l, .1 s, 


:- .d :d .d 


d I- .n Id J| s, 


:- :s, s, 


1 s, :- .pi| :f| .f m 

* best; Thy lodging is 
< me, Of low - ly th 
guest; Let no one ha 

/ t, 1- .d :d .d d 
* S| I- ,d, :d| ,d d 


i :- .mi :fi .fi 

in child-like 
oughts and sim pie 
ve it then but 

:- .s, :i, .1, 
I- ,d Id, ,dj 


Pl| ,S| JS| ,I| Pl| 


... , f . 
.TI .1 Pi| .- 


hearts Thou makest there 


thy rest. 


ways, I'll build a house. . 
thee And let it be 


for thee. 


thy rest. 


S| :- .d :d .d d 


:t, :r d :- 

'a t\ * 


d, :- .d| :ni .fj si 



57 



58 



THIRD STEP. 



1G2. KEY C. 



KEOKUK. C. M. 



.8 


S S S S 


s Id 1 


t : .t 


d'.l Is S 


n 


.PI 


n .nlr j 


d Is 


s : .f 


n .f In jc 


d 


l.Ye 

2. Fear 


trembling souls, dis. 
not the powers of 


miss your 
earth and 


fears, Be 
hell, Those 


mercy all your 
powers will God re 


theme, 
strain ; 


3. Fear 


not the want of 


out - ward 


good: For 


His He will pro 


vide; 


.d' 


d 1 .d'lt .t 


d 1 In 1 


r 1 I .r 




d 1 .d 1 Id' .s 


S 


.d 


d .nis .f 


n Id 


S I .8 


1 S Is .s. 


d 


/ r .r Is S 


n I .s 


s .s Id' .d 1 


n 1 Id 1 


d 1 


( t, .t. It, .r 


d : .n 


n .n Is .s 


s Is 


1 


1 one perpetual 


stream ; Mer- 


cy which like a 


riv - er 


flows 


make their efforts 


vain ; His 


arm shall all their 


rage re - 


pel. 


all they need be- 


side; Grant 


them supplies of 


dai - ly 


food, 


: 


I .d 1 


d 1 .d 1 In 1 .n' 


d 


Id' 


d 1 


: 


I .d 


d .d Id .d 


d In 


f 



WM. B. BBADBTTBT. 



.n 
.d 



n .n .n ,s 
d .d Id .n 



f *f r 
.1.1 .1 

j Ir .t| 



s 
n 

river flows In 



Mer- cy which like a 

His arm shall all theirl rage repel, And 

Grant them supplies of daily food, And 



If 

In 

And 

And 



:f 



S .8 IS .t 

n .n Ir S 

oue perpetual 
make their efforts 
all they need be - 

d 1 .d' It j' 

s .s :s .s 



d 1 J 

n ! 

stream. 

vaiu. 

side. 

d 1 : 

d : 



A pulse divided into two quarters and a half, is named 
tafaTAi. A half aud two quarters are named TAA-tefe. They 
are indicated thus: 



tafa 



.1 ,1 

tefe 



A pulse divided into three quarters and a quarter is named 
TAA-efe. The quarter-pulse continuation, like all other con- 



1O3. KEYS D, G. TafaTAi. 



TAA 


TAI 


ta 


fa 


TAI 


TAA 


TAI 


1 


a 


11 


,1 


a 


1 


a 


d 


.d 


Id 


,d 


.d 


n 


.n 


d 


S| 


:1, 


tl 


.d 


n 


,r 



II 
II 



d 

All 

S .! 



ta fa TAI 



,1 a 



In ,f ,s 



KEYS D, F. TAAtefe. 



TAA 


te 


fe 


TAA 


TAI 


TAA 


te 


fe 


TAA 


1 


.1 


,1 


11 


.1 


1 


.1 


,1 


11 


8 


.8 


,8 


Id 1 


.8 


n 


.d 


,N 


Is 


n 


.n 


,r 


Id 


S| 


d 


.d 


,r 


In 



tinnations, is properly represented by a dash, (a) but iu order to 
save space the dash is omitted and the dot and com u. a placed 
close together, (6). 

()|1 .- ,1 : (6)|1 .,1 = 

TAA - efe TAA - efe 

The time-name TAA-efu must not bo pronounced TxA-^/Te, the inter- 
vening "e" JH not to be sounded, but the "AA" continued up to the ''f"' 
thus, TAA-afc or TAA-fe. 



ta fa TAI til fa TAI 

1 ,1 .1 :l ,1 .1 

S ,S .S In ,P1 .PI 

s ,f .m :f ,m j 



ta fa te fe ta fa TAI 

1 ,1 .1 ,1 :l ,1 a 

8 ,8 .8 ,8 Id 1 ,d' .d 1 

m ,r .d ,t| :1| ,t| .d 



TAA te fe TAA 


te fe 


ta fa te fe TAA 


1 J ,1 :l 


a ,1 


1 ,1 .1 ,1 :l 


d 1 .s ,s :d 


.8 ,8 


PI ,PI .PI ,PI Id 


PI .r ,n if 


.PI ,f 


s ,f ,m ,r :d 



KEY F. HALVES AND QUARTERS. Round in four parts. 

.r In .r Id .t| Id In .f 

to - geth - er I let us sing, | We will 



Is 

make 



.f 

the 



,S 



.8 98 .8 



Gentlemen, gentlemen, 



8 ,8 .8 
gentlemen 



IS 

sing, 



d .d .d Id .d 

Sing, la-dies, sing, now 



n .r In 

wel - kin ring; 

j .S, ,S| Id 
sing ladies, sing. 



THIRD STEP. 



59 



o KEYS C, A. TAA-efe 



TAA TAI TAA te fe 


TAA TAX TAA 


TAA TAI TAA- efe 


TAA TAI TAA 


1 J :l J 4 


1 J 11 


l J :l .4 


i a n 


n .n Id .d ,n 


S .3 IS 


3 .3 In ..S 


d 1 .d 1 Id 1 


d ,t. Id .d ,r 


n S Is 


d .t, Id .,r 


m .r Id 


1 .4 :i a 


1 ..1 11 


1 .4 :l .4 


1 J 11 || 


d 1 .,d< Is .s 


n .,n Id 


d .,d in .,n 


s .s Id 1 


n .,r Id .r 


d .4, IS) 


s, .4! :t, .,d 


r .n Id 


\<&~7. KEYS F, C. 


1 :l M l|l :l 


1 :l .4 |1 i 


1 ;l .411 :l 


i 
i 


d Id ..r n Is 


d In .,n r I 


t, it, ,,d r In 


d I- I 


s II ..s n Is 


d 1 lr.,d'|l I- 


C *C Q 11 f 

S ,,b |1 L 


d 1 I - I 


1OS. KEY G. Round for three parts. * 


In In ,,n n .n In .n r Is .,f 


n d Id ,,d | d .d Id .d ) 


1 Biui, borne, the bells are ring-ing, Come, come a - 


way; Hark! to their j distant ring-ing, ) 


it In ..r d I s Is, 


d I Is IS| Id I- || 


\ \ Come, come a - way. Bim. borne, 


bell, 1 Bim, borne, 1 bell. 


1OO. KEY 1>. Round for four parts. 


* 


Id. Id . id. Id . 


d ,,rln .f n .r Id 


n ,,f Is J s ,f In 


d< ;_ d 1 I || 


I Tick, tock, 1 tick, tock, Illear the clock, it seems to say, 


One more hour is pass'd away, 


Ding, dong. || 


ANTWERP. L. M. 


IT'O. KEY A. T. F. SEWARD. 


d iSj ,,S| d I .d 


r It d I- 


n Id ,,r n I .n 


f In r I- 


n In,., nil ni I ,ni 


f. If n, I- 


s, ln,.,f, |s, I- s\ 


S| IS) S I 


I. Light of the soul, O 


Sav - iour blest! 


Soon as thy pres - ence 


fills the breast. 


2. Son of the Fa - - ther 


Lord most high : 


How glad is he who 


feels thee nigh; 


3, Je - BUS is from the 


proud con - cealed, 


But ev - er - more to 


babes re - vealed, 


d Id ,,d |d I- .d 


t, Ir |d I 


d Is, ,.S| d I- .d 


r Id |t, I 


d Id .,d d I- .d 


s, Is, d I 


d. Id, .,d,|d, I-.d 


t, Id |s, I 


r 2t| .,d r I- .n 


f .s In S T : 


n .r If ,n s .f In j 


d it, |d :- 


8, IS, ,,S, |S| I ,S| 


s, is, |s, : 


S| S\ Il| .S| |S| Is, .1, 


si if| h, : 


Darkness and guilt are 


put to flight, 


All then is sweet - ness 


and de - light. 


Come in thy hid - - den 


maj - es - ty, 


Fill us with love, fill 


us with thee. 


Through him unto the 


Fa - ther be 


Glo - ry and praise e - - 


ter - nal - ly, 


t**i T 1 ^ 1 
I t Sj ,,i| | t| - ,u 


r .n Id jr |tj I 


d Id.d n.r :s .f 


n Ir n I 


81 :s, .,s, s. : ,s, 


si :si [Si ; 


dj d|.dj |d, T| in .1, 


s, is, jdj ; 



60 



THIRD STEP. 



OH! THE SPORTS OF CHILDHOOD. 



KEY C. Smoothly; in swinging style. M. 104. 



O. B. BABBOWS. 



m 




p 


f 




I s o,l :s 


>f 


PI :d' 


s .,1 Is 


,,f n Id 1 


r' .,d':t .,1 


s :r' 


I n ,,f .'PI 


,,r 


d In 


PI ,,f .'PI 


,,r d : PI 


f .,f :f .,f 


f :f 


) 1. Oh, the sports of 


child - hood! 


Roam im) thro' 


the wild - wood, 


BUN- NINO O'ER THE MEAD - ows, 


/ 2. Swaying in 


the 


sun - beams, 


Floating in 


the shad - ow, 


SAIL - ING ON THE BREEZ - E8, 


} 3. Oh, the sports of child - hood! 


Roaming thro' 


the wild - wood, 


SING -ING O'EB THE MEAD - ows, 


/ d 1 .,d' :d' 


.,d' 


d 1 :s 


d 1 .,d' :d ( 


,,d' d 1 Is 


t ,,d' :r' .,d' 


t :t 


' d .,d :d 


.,d 


d :d 


d ,,d :d 


..d d Id 


S .,S to ,,S 


s is 






m 


P 




/ 


.,d' 


s : s .,1 :s 


,,f n :d' s .,1 is ,,f 


PI :d' 


1 PI :f 


f 


m : 


PI ,,f :n 


..r d I PI 


PI M f JPI ,,r 


|d :m 


HAP - PY 


AND 


FREE; 


How my heart's a - beat - ing, 


Thinking of the 


greet - ing, 


HAP - PY 


AND 


FUEE; 


Chas -ing all 


our sad - ness, 


Shout-ing in our 


glad - ness, 


HAP - PY 


AND 


FREK; 


But my heart' 


s a - beat - ing, 


For the old time 


greet - ing, 


d 1 id 1 


.,1 


d 1 :- 


d 1 .,d :d' 


,,d' d 1 :s 


d 1 .,d' :d' .,d' 


d 1 is 


d :d 


.,d 


Id :- 


d .,d :d 


.,d |d :d 


d .,d :d .,d 


d :d 








C1IORUS. 




^_^ 


r' .,d'It 


,1 


s It .,r' 


d 1 i- 




_ 

s Id 1 


n' Id' 


( f ,,f :f 


,f 


f :f ,,f 


PI i 


: 


n :PI 


s In 


\ SWINGING 'NEATH THE OLD AP - PLE 


TUBE. 




Swing - ing, 


swing - ing 


) SWINGING 'NEATH THE OLD AP - PLE 


TREE. 








' SWINGING 'NEATH THE OLD AP - I-I.K 


TREE. 







=^^^ 


/s .,1 :t 


,,d' 


r' :r ! ,,t 


d 1 :- 


; 


d 1 :- 


8 1 


( 










Swing 


ing, 


* s ,,s Is 


.,s 


s is .,s 


d :- 


I 


d :- |d : 


. 




~== /' 




j 


I s :dl 


m 


:d' r 1 ,,d':t .,1 s 


It .,r' d 1 :l ,,d' s :- 


s Id 1 


I PI :n 


s 


:PI f .,f :f .,f f 


:f ,,f PI :f .,f m :- 


n In 


} Swing - ing, 


swing - ing, Lull - ing care to rest 


'neath the old ap - pie tree; 


Swing - ing, 


id' :- 


S 


: t :r' it 


it d' :d' .,1 Id' i- 


d' I- 


[ Swing - 


ing, Swing - ing 'nealh the old ap - pie tree; 


Swing - - 


\ d : 


d 


' s :s s 


:s d :d .,d d :- 


d I- 






/ 






n 1 :d' 


s 


'a. ] PI' Id 1 r 1 ., 


d':t .,1 s :t ,,r' d' :- 


: 


s In 


PI 


' PI s :PI f ., 


f :f ,,f f :f .,f m i 


O 
O 


swing - ing, 


Swing - ing, swing - ing, SWINC 


ING 'NEATH THE OLD AP - PLE TREE. 




S e 


d 1 


:- Is :- s 


,1 :t ,,d' r 1 :r' .,t d 1 : 


1 

1 


ing, 


Swing - ing, SWING 


ING 'NEATH THE OLD AP - PLE TREE. 




d :- 


i 


:- Id :- s . 


,s is ,,s s IB .,s d : 


1" * 



THIRD STEP. 



61 



A. S. KlEFFEE. 

KEY G. M. 72. 



TWILIGHT IS STEALING. 



B. C. UNSELD. 



d Id ,,r n 


Is 


d In.,n r i 


t, It, .,d 


r If 


f In ,,r 


n I 


s. Is, ,,s,|d 


Id 


s. Id ,,d |t, I 


s. Is, .,1, | 


t. It, 


r Id .,t 


d I 


1. Twi -light is steal - ing 


O - ver the sea, 


Shad - ows are fall - ing 


Dark on the lea; 


2. Voic-es of loved ones, 


Songs of the past, 


Still lin - ger round me 


While life shall last; 


3. Come in the twi 


- light, 


Come, come to me, 


Bring - ing some mes - sage 


O - vtr the sea; 


n In .,f s 


In 


n Is ,,s s I 


r Ir ,,n 


f Ir 


s Is ,,s 


s I 


d :d.,d|d 


Id 


d Id ,,d |s, I 


S, IS, ,,S| 


i, :s, 


s, :i, .,s, 


d I- 


_ 
/ d Id ,,r n 


Is 


d In ,,n r I 


'~ 
t. It, ,,d 


r In 


~ = 

d I- 


^^ 


1 u 
1 s, oS| ,,S| d 


Id 


s. Id ,,d |t, I 


s. Is, .,1, 


t, It, 


d I- 


~~ 


* Borne on the night winds, 


Voic - es of yore 


Come from the far - off 


shore. 




( Lone - ly I wan - der, 


Sad - ly I roam, 


Seek - ing that far - off 


home. 




(Cheer-ing my path - way, 


While here I roam, 


Seek - ing that far - off 


home. 




n In ,,f s 


In 


n Is ,,s s I 


r Ir .,n ] 


f Is 


n ; 






d Id.,d|d 


Id 


d Id ,,d s, I 


S, IS, ,,S| ! 


51 :S| 


d I 



~~~ 


f CHORUS. 




r 




s Is n 


I- .s 


1 .s Is .n r I 


r Ir 


s I- .r 


f .n In .r 


Id I- 


d Id d 


I- .d 


d.d Id.d |t, I- 


t. It, |t, I- ,t. 


r .d Id .t. 


|d I- 


Far a - way 


be - 


yond the star-lit skies, 


Where the love - light 


nev-er, nev-er 


dies, 


m In s 


I-.n 


f .n In .s s I 


s Is 


r I- .s 


s .s Is .f 


n I- 


d Id d 


I-.d 


d.d Id .d |s, I- 


S, IS, |S| I- ,S| 


S,.S, IS, ,S| 


d I- 


" 
d Id ,,r n 


' 

~Ts 


d In .,n r I 


: 
t, It, ,,d ] 


r In 


~ 
d I- 




^~ 


s, Is, .,S| d 


:d 


S| Id ,,d |t, I 


s. Is, .,1, |t. It, 


d I- 


t 



Gleam-eth a man - sion 


filled with de-light, 


Sweet, hap - py home so 


bright. 




n In ,,f s 


In 


n Is ,,s s I 


r Ir ,,n \ 


Is 


n I 



^~~ 


d ;d.,d|d 


Id 


d Id ,,d s, : 


S, IS, ,,S| |S 


i :s. 


d I- 



* 


IT'S. KEY G. Round for three parts. 


* 


T. F. S. 


(Id :- :- 

( 1 Now t 


r Id Ir n I : |d : : 

wi - light is clos - - ing, 


n I : |f 

All na - 


In If 

ture re - 


(is I- I- 


n I I s In Id 8 


J, IS, IS, 


n Id Is n 


:d is 


M pos 


ing, Out in the woods hear the 


whip - poor - will, whip 


poor - will. 



62 



THIBD STEP. 



LOUD THROUGH THE WORLD PROCLAIM. 



f 17"4. KEY C. M. 104. 


C. H0NTINO. 


s Jm.,r d :PI 


s : 


:d' 


t :r' |d" :t 


d 1 Id' | is 


8 Id 1 


t II 


s Im.,r d In 


g 


in 


r :f 


m :r 


n In ] In 


n In 


8 If 


, Loud thro' the world pro- 


claim 


Je - 


ho - vah's high - est 


prais-es, Je - 


ho - vah's 


high- est 


s !pi.,r d :m 


s : 


Is 


s :s 


s Is 


8*0 1 * 
a 


: 


: 


s Im.,r|d :PI 


s : 


- Id 


s :s 


8 IS 


d Id | I 


: 


8 


f : m 1 :r' 


d 1 :n' 


r' It 


d' :- |d' :s 


1 I- |r' :- 


d 1 I- 


It i- 


1 _ fl f 

1 1 


m :s 


If :r 


n I 


n In 


f I- If I- 


n I 


r I 


prais - es, Je - 


ho - vah's high - est 


prais - es, Je - 


ho - - vah's 


high - 


est 


: : 


: 


! 


: 


:d' 


d 1 I- |1 I- 


8 I 


8 I 


: 1 : 


: 





: 


:d 


f I- |f I- 


8 I 


|S, I- 




PP 




d 1 :d' : 


I 


s I PI 


PI i 


f :l 


s I s In 


r I 


f If 


m :PI : 


I 


PI :d 


d :- 


r :f 


PI I n Id 


t, I- 


r Ir 


, praises. 




Bow-ing 


low at his 


throne, with the 


an - - 


gels a - 


s :s : 


i 


: 


: 


: 


1 * 
1 


: 





, \ :d : 


: 


* 


: 


' 


: 1 : 


: 


I 


(In :- s :PI 


PI :- 


|f :l 


s :- 


s Is 


1 ;- |t it 


d 1 I 


^_ * 


< dore; Bow - ing 


low 


at his 


throne with the 


an - gels a - 


dore; 




(Id :- PI :d 


d I- 


r :f 


PI :- 


PI :PI 


f I |f If 


n I 


I 


m i : _ m i : _ fi 


*f*i 'f' T' *T*I T' 

1*11 *X 1 


HI * d ' f ml *r' 


Is 


For he liv 


- eth and reign - eth for- 


ev - - er and ev - er; 




s : s : 1 


:1 .1 s :s .s 


m :f .s 1 :1 .1 s :s 


In 


For he liv 


- eth and reign - eth for- 


ev - er, for - ev - er and ev - er; 


Be - 


d 1 : d' : d 1 


:d' .d 1 t :t .t 


d 1 :- |d' :d' d 1 :t 


; 


For he liv 


- eth nnd reign - eth for- 


ev - - er and ev - er; 




d :- |d :- f 


: s :s 


d :r .n |f :f S s IB 


; 


For he liv 


- eth and 


reign - eth for - ev - er and ev - er; 




n 1 5 Id 1 


g 


- Is 


1 if'j-'ld' :t 


d 1 I- - is 


n' :- 


- Id' 


k s : :s 


PI :- 


IPl 


f :I~~ 


8 If 


PI I In 


8 I 


! ss 


joice, re * 


joice, 


re - 


joice.and praise his 


name; Be - 


joice, 


re - 


:d' s :n 


d 1 :- 


1 Id 1 


d 1 :r' 


m 1 Ir 1 


d 1 :- ! i 


P Id 1 


(s :n 


Be - joice, re - 


joice, 








Be - 


joice, re 


: 1 : 


Is 


[m id 


f i is : 


d i \ : 


I 


I : 




Be 


- joice and 


praise his 


name; 







THIRD STEP. 



63 



(8 J 


~~~ s 


1 :f ' .r 1 


d 1 :t 


d 1 :- 


i 


s :n.,r|d :m 


Q vJ 1 


m '. | Jro 


f :l 


s :f 


n : 


: 


s :n.,r 


d :m 


s : | :n 


joice, re - 


joice and praise his 


name. 


Loud thro' the world pro- 


claim Je . 


jd- :- 


:d' 


d 1 :r' 


n 1 :r' 


d 1 : 


: 


s :m.,r|d :m 


g J q 


\ p l - 


m :d 

joice and 


f : 

praise 


I s '- 

his 


d : 

name. 





s ;n.,r 


d :PI 


s : :d 


t :r' Id 1 :t 


d 1 :d' 


IB 


n 1 :- 


- :d' 


S* 
~"~ 


:s 


1 :f j'|d' :t v 


r If 


n :r 


n In 


:n 


s : 


:s 


n :- 


:m 


f :l s :f 


ho - vah's high-est 


prais-es; 


Re - 


joice, re - 


joice, re - 


joice and praise his / 


s Is 


8*0 



s :s 


: 


:d' 


s :n 


d 1 :- 


:d' 


d 1 :r' m 1 :r' ) 








Re - joice, re - 


joice, 


v 


S SS 


s :s 


d :d 


; 


'. 


: 


:s 


m :d 


f :- s :- 










Re - joice and praise his / 


d 1 : 


:d , 


d 1 :- 


- :d' 


d 1 : 


- :f 


m 1 :m' 


r' :r' 


d' :- !- : 


Je - 


ho 


vah 


reigns, Re - 


joice and praise his 


name. 


n : 


:m 


f :f 


f m 


f :f |f :l 


S'c 
s 


s :f 


m : : 


name; 3e - 


ho-vah reigns, Je - 


ho - vah reigns, Re - 


joice and praise his 


name. 


d 1 :- 


Is 


1 :1 


1 :s 


1 :l 


1 :d' 


d' :d' |t :t 


d 1 :- - : 


d : 


:d 


f :f |f :d 


f :f |f :f 


s :s 


S| !S| 


d : | : 



Modifications of Mental Effect. Thus far we have 
studied the mental effect of tones wheu snug slowly. All these 
effects are greatly modified by pitch, by harmony, by quality of 
tone, but chiefly by speed of movement. Highness in pitch 
favors the brightness and keenness of effect, makes ray more 
rousing, and te more piercing. Lowness in pitch favors the 
depressing emotions, makes fah more desolate, and lah more 
sad. Quick movement makes the strong tones of the scale 
(d n s) more bold, and the emotional tones (r f 1 t) gay and 
lively. Let the pupils sing any exercise containing fah and lah 
very slowly indeed, and notice how their mental effects are 
brought out. Then let them sing the same piece as quickly as 
they can, keeping the time and observing the change. Fah and 
lah are now gay and abandoned instead of weeping and desolate 
in their effect, and the other tones undergo a similar modifica- 
tion. The tune Mauoah will afford a very good illustration. 
Let it be sung first very slowly and then very quickly. Let the 
pupils try in the same way other tunes which are deemed most 
characteristic. 



Id :- :- 
II : : m 



:d.r |n : :r |d : :t, 
Jl, : :r.n]f : :n |r : :d 

It, : :s, |n : :r |f : :m |1 
Is if :r |d : :s, |n : :r |d : : 



Elementary Rhythms" required for the time exer- 
cise of the Elementary Certificate, should be carefully taught by 
the teacher and diligently practiced by the pupils at home. 

Modulator Voluntaries, Ear Exercises, Pointing 

rind Writinij from Memory are still to be practiced at every 
lesson. The exercises becoming more and more difficult as the 
pupils gain facility. The voluntaries will now include laa-ing as 
well as solfa-ing, to the teacher's pointing. A few two part Ear 
Exercises, as in "Hints for Ear Exercises," can now be wisely 
introduced, but only to quick and observant classes. To others, 
each "part" of the exercise will serve as a separate exercise. 

Examinations for the Certificate may begin six 
weeks before the close of the tf rm. All the requirements need 
not be done at one interview; as soon as a pupil is prepared iu 
any one requirement, he may be examined in that, but all the 
requirements must be done within six weeks, or else the exami- 
nation begins again. The examination may be conducted be- 
fore the whole class, or in private, as suits the convenience of 
the teacher and pupils. 

For instructions in Voice Training, Breathing, Harmony, etc., 
belonging to this step, the teacher will consult the Standard 
Course. 



THIRD STEP. 

QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 

DOCTRINE. 



1. What two new cones have you learned In this 

step? 

2. Between what two tones does Fah come ? 

3. Between what two tones does Lah come ? 

4. What is the relative position of Fah to Dohf 

5. "What is the relative position of Lah to Doh ? 

6. "What is the mental effect of Fah ? Of Lah > 

7. "What is the manual sign for Fah f For Lah f 

8. "What chord is formed of the tones fid? 

9. What is the series of tones, drmfsltd 1 , 

called .' 

10. Which is the fifth tone of the scale? The 

third? The sixth? (The teacher will sup- 
ply additional questions, and also questions 
on the mental effects and hand-signs.) 

11. Each tone of the scale differs from the others, 

in what ? 

12. What is meant by "pitch?" 

13. What is the eighth tone ahove or helow any 

given tone called ? 

14. How is the octave ahove any tone indicated in 

the notation ? 

15. How is the octave below indicated ? 

16. How lathe second octave indicated ? 

17. Which are the strong, bold tones of the scale? 

18. Which are the leaning tones? 

19. Which two tones have the strongest leaning 

or leading tendency ? 

20. To what tone does t lead ? 

21. To what tone docs f load I 

22 What is the most important, the strongest, the 
governing tone of the scale called ? 

23. What is a family of tones, consisting of a key- 
tone and six related tones, called ? 



24. When the tones of a key are arranged in snc- 

cessive order, ascending or deccndiug, what 
do they make ! 

25. Must the scale always be sung at the same 

pitch or may it be sung at different pitches ? 

26. What is the name of that scale from which all 

the others are reckoned ? 

27. What is the name of the pitch that is taken as 

the key-tone of the Standard Scale I 

28. Name the pitches of the Standard Scale? 

29. What pitch is Soh 1 Kay i Lah f (The 

teacher will supply similar questions.) 

30. In the absence of a musical instrument, how 

may the correct pitch of the Standard Scale 
be obtained? 

31. From what is a scale or key named ? 

32. How are the different keys indicated in the 

notation ? 

33. What is the difference of pitch between the 

voices of men and the voices of women ? 

34. What is the name of the pitch that stands 

about the middle of the usual vocal com- 
pass ' 

35. Is middle C a high or a low tone in a man'a 

voice ! 

36. Is it a high or a low tone in a woman's voice? 

37. What are the high voices of women called ? 

38. What is the usual compass of the Soprano? 

39. What are the low voices of women called t 

40. What is the nsnal compass of the Contralto? 

41. What are the high voices of men called ? 

42. What is the usual compass of the Tenor? 

43. What are the low voices of men called ? 



44. What is the nsnal compass of the Baset 

45. From what octave of the Standard Scale is the 

pitch of the key-note of any key taken ? 

46. How is this tone and the six tones above it 

marked ? 

47. In the Key G the nnmarked of the Standard 

Scale is doh, what is the unmarked A ? The 
unmarked E .' 

48. How would that lah be marked ? 

49. With what octave marks are the Base and 

Tenor parts written ? 

50. How is the exact rate of movement of a tune 

regulated ? 

51. What does M. 60 indicate? 

52. How is the rate of very QUICK, six-pulse meas 

ure marked ? 

53. What is the time-name of a silence on the first 

half of a pulse ? On the second half? 

54. How are half-pulse silences indicated in the 

notation ? 

55. What is the time-name of a pulse divided into 

two quarters and a half? 

56. How are they indicated in the notation? 

57. What is the time-name of a half and twoqnar- 

ters? 

58. How are they indicated in the notation? 

59. What is the time-name of a pulse divided into 

a three-quarter-pulse tone and a quarter f 

60. How are they indicated in the notation? 

61. By what, chiefly, is the mental effect of toned 

modified ? 

62. How does a quick movement effect the strong 

tones of the scale ? The emotional toneaf 



PRACTICE. 



63. Sing from memory the pitch of d ' of the Stand- 

ard Scale, and sing down the scale. 

64. Strike, from the tuning-fork, the pitch of d 1 of 

the Standard Scale, and sing down the scale, 
as above. 

65. Pitch, from the tuning fork, Key D A T. 

66. Sing to laa the Fah to any Doh the teacher 

gives. 

67. Ditto Fah t . Ditto Lah. "Ditto Lah t . Ditto any 

of the tones of the scale the teacher may 
choose. 

68. Taatai, with accent, a four-pulse measure, at 

the rate of M. 60 from memory. At the 
rate of M. 120. 



69. Taatai, with accent, fight four-pulse measures, 

sustaining the rate of M. 60. The rate of 
M. 120. 

70. Taatai. from memory, any one of the Exs. 155 

to 158 and 163 to 167, chosen by the teacher, 
the first measure being named. 

71. Taatai on one tone any one of the Exs. 165, 

168, 169, chosen by the teacher. 

72. Taatai, in tune, any one of the Exs. 165, 168, 

169, chosen by the teacher. 

73. Follow the examiner's pointing in a new vol- 

untary containing all the tones of the scale, 
but no difficulties of time greater than the 
second step. 

74. Point and Solfa on the modulator, from mem- 



ory, any one of the following f ,nr Exercises, 
115, 116, 118, 119, chosen by the examiner. 

75. Write, from memory, any other of these four 

Exercises, chosen by the examiner. 

76. Tell which is lah ; which is fah, as directed 

on page 34, question 31. 

77. Tell what tone of all the settle is sung to laa, 

as on page 34. question 32. 

78. Taatai any rhythm of two four-pulse measures 

belonging to this step, which the examiner 
shall laa to you, see page 34, question 33. 

79. Taatai in tune, any rhythm of two four-pulse 

measures belonging to this step, which the 
examiner Solfas to you. See page 34, ques- 
tion 34. 



FOURTH STEP. 



Tk 



Litfi oals qf the Scale. Transition to the First Sharp and the First Flat Keys; its process and mental effect. 
effect Cadence, Passing and Extended Transition. Pitching Tunes, Thirds of a Pulse. Beating Time. 



The ton en Fe and Ta> 
Syncopation. 



llie Intervals of the Scale, in the art of singing, 
this subject is not now deemed so important as it once was, for 
attention is now directed immediately to the character and 
mental effect of a tone in the scale, rather than to its distance 
from any other tone. In an elementary class the subject need 
not be dwelt upon merely the main facts briefly presented. 
Tlie teacher or student who wishes an exhaustive treatment of 
the matter, is referred to Musical Theory, Book I, by John 
Curwen. 

The Tonic Sol-fa statement of the scale-intervals is as fol- 
lows: 

t to d Little Step 5 Koinmas. 

1 to t Greater Step 9 Koinmas. 

8 to 1 Smaller Step .... 8 Kommas. 

f to s Greater Step ...9 Kommas. 

n to f Little Step 5 Kommas. 

r to m Smaller Step .... 8 Kommas. 

d to r Greater Step ... .9 Kommas. 

Thus the scale contains Three Great Steps, Two Small 
Steps and Two Little Steps. The difference between a Greater 
and a Smaller Step is called a Komma; a Greater Step consist- 
ing of nine Kommas; a Smaller Step, eight Kommas, and a Lit- 
tle Step, five Kommas. Ordinarily, no distinction is made 
between the Greater and Smaller Steps, they are simply called 
Stops, and the Little Step is commonly called a Halt-Step. 

Intervals are also named Seconds, Thirds, Fourths, 
Fifths, Sixths, Sevenths, Octaves, and so on. The interval 
from any tone to the next in the scale is called a Second; from 
any tone to the third tone is called a Third; to the fourth tone 
a Fourth, and so on. A Second that is equal to a Step is called 
a Major Second; a Second that is equal to a Little Step is called 
a Minor Second. A third that is equal to two Steps is called a 
Major third as from d to n f to 1 or s to t A Third tbat is 
equal to one full Step and one Little Step (a Step and a Halt) is 
called a Minor Third as from r to f n to s 1 to d 1 or t to r 1 . 

Fah and Te are separated by a peculiar interval, called the 
Tri-tone equal to three full Steps it is the only one found in 
the Scale. Thus f and t become the most marked characteristic 
tones of the scale. From their mental effects t may be called 
the sharp tone of the seal-, and f the flat tone. We shall pres- 
ently see how the whole aspect of the scale changes when f is 
omitted and a new t put in its place, or when t is omitted and a 
new f is taken instead. 

Transition is the "passing over" of the music from one 
key into another. (Heretofore this has been called modula- 
tion but in the Tonic Sol-fa system "modulation" has a differ- 
ent meaning.) Sometimes, in the course of a tune, the music 
seems to have elected a new governing or key-tone tone; and the 
tones gather, {or a time, around this new key-tone in the same 
relationship and order as around the first. For this purpose 
ne or more new tones are commonly required, and the tones, 
which do not change their absolute pitch, change, nevertheless, 
their "mental effect" with the change of key-relationship. To 



those who have studied the mental effect of each tone, the study 
of "transition" becomes very interesting. At the call of some 
single new tone, characteristically heard as it enters the music, 
the other tones are seen to acknowledge their new ruler, and, 
suddenly assuming the new offices he requires, to minister in 
their places around him. 

The musical fact, thus didactic-'Jly stated, may be set before 
the minds of pupils in some such way as the following : First 
bring up the scale in review, questioning the class as to the 
mental effects of the tones, the intervals, and the two most 
marked characteristic tones of the scale. The teacher may then 
say: 

Listen to me while I sing a tune, and notice whether 
I stay in the same key all through the tune, or whether I 
go out of it at any point. 

Teacher sings the following example to laa. 
I. KEY C. 

{|d :m |s :n |1 :1 IB : } 
{|s :s |d' :t .1 |s :f |n :- || 

Did I stay in the one key all the time, or did I go out 
of it at any point? 

Listen again, and raise your hands when you feel the 
key has changed. 

Teacher now sings, still to laa, example H. 



II. 



{I 



:fe 



Is :- } 
Is :- II 



When the teacher strikes the tone fe the pupils will, with- 
out doubt, hold up their hands if they do not, then both 
examples must be repeated. 

You feel that the music has "passed over" into a new 
key. This change of key during the progress of a tune is 
called Transition. 

It may be well now to repeat the two examples to laa, pupils 
imitating. 

Let us now learn what has caused this transition, cr 
change of key. You may sing (solfa-ing) as I point. 

The teacher points on the modulator the example i 
above. 



FOURTH STEP. 



Did you make a transition then, or stay in the same 
key? 

Try it again, as I point 

This time he changes second phrase, thus: 

III. KETC. 
d :n |s :n |1 :I IB : } 



:s 



:t .1 



:f 



s : 



Did you make a transition then, or stay in the same 
key? 

Listen to me. 

Teacher sings example II to laa, pointing as he sings; and 
at/e he points to fah, on the modulator, but sings fe. 

Did I sing /a/i, then, or a new tone ? 

Was the new tone higher or lower than/a/i? 

Was it higher or lower than soh? 

The new tone is a Little Step below soh, and is called 
fe; it is to soh exactly what te is to doh. Now sing as I 
point, listen to the mental effect of soh, and tell me 
whether it still sounds like soh. 

Pupils sol-fa, to the teacher's pointing, example II, page 65. 

What did the last soh sound like ? What did t\\efe 
sound like? 

Yes; soh has changed into doh,fe is a new te, lah is 
changed into ray, te into me, and so on. 

The teacher may illustrate this further if he thinks best. 

You see that the transition is caused by omitting/a^, 
i\\QJlat tone of the old key, and taking/e, the sharj) tone 
of u now key, in its place. Fe thus becomes the distin- 
guishing tone of the new key. The new key is called the 
"Soh Key, "or (on account of the ah arp effect of the distin- 
guishing tone), the First Sharp Key. The new key is 
shown on the modulator on the right of the old key. You 
see the new doh is placed opposite the old soh ; the new 
ray opposite the old lah ; the new me opposite the old te, 
and so on. 

The teacher will now pattern and point on the modulator 
example II, going into the side column, as indicated in exam- 
ple IV, following. 



IV. KEYC. 

:m s 



:n 



G.t. 

{I'd 



:d 



.r d 



s :- 



|d : 



Now for another experiment. Instead of putting a 
sharp tone under soh, in place of fah, let us put ajlat tone 
inder doh, in place of te, and see what the effect will be. 



Teacher sings, and points on the modulator, example V, 
which the pupils may sing after him. 



V. KEY C. 

:n |8 

:s |d' 



:n 
:s 



It 



|s 
.s |f 



Have we made a transition or not ? 

Has the mental effect of any of the tones changed? 

Listen again, and in place of te we will put a new tone 
called /a*; now notice the mental effect of fah. 

Teacher repeats example V, singing to in the place of te 
pupils imitating. 

Fah has become doh, soh has become ray, lah has 
become me, ta is a new/a/i, and so on. We have made 
a transition into a new key, but a different new key. The 
distinguishing tone of this new key is ta. It is called the 
" Fah Key," or (on account of the/?a effect of its distin- 
guishing tone), the First Flat Key. The Fah Key is rep- 
resented on the modulator on the left of the old, or Doh 
Key. 

Teacher will now pattern and point example V, going into 
the side column, as indicated in example VL 



VI. K 

{Id :n 

f.P. 

{|r :r 



|s :n |1 :1 |s : 
|s :r .n |f :n .r |d : 



It will be interesting now to review examples I, II, IV, V 
and VI. 

Adjacent Keys in Transition. Such transitions as 
have just been studied are culled transitions of one remove, be- 
cause only one change is made in the pitch tones used. When 
B becomes d the music is said to go into the first sharp key, or 
key of the Dominant. When f becomes d the music is said to 
go into the first fiat key, or key of the Sub-Dominant. Eighty 
per cent, of all the transitions of music are to one or the other 
of these two keys, and that to the Dominant is the one most 
used. The relation of these two adjacent keys should be very 
clearly understood by the pupil, and he should be led to notice 
how the pitch tones change their mental effect, as described in 
the following table: 

Piercing t becomes Calm n. 

Sorrowful 1 " Rousing r. 

Grand s " Strong d. 

Desolate f is changed for Piercing t. 

Calm m becomes Sorrowful 1. 

Bousing r " Grand "s. 

Strong d " Desolate 

* For pronunciation, see Chromatic Effects, page 67. 



IOUBTH STEP. 



67 



d' f 



f ta 



r 8 d 



d f 



r s, 



Returning Transition. As & rule, all 
tunes go back again to their principal key, but 
the returning transition is not always taken in so 
marked a manner as the departing transition, 
because the principal key has already a hold on 
the mind, and the ear easily accepts the slightest 
hint of a return to it. Commonly, also, it is in 
the departing transition that the composer wishes 
to produce his most marked effect, and in which 
he therefore makes his chords decisive, and his 
distinguishing tones emphatic. Let it be care- 
fully noticed, that the return to the orignal key 
is the same thing in its nature, as going to the 
first flat key so that a study of the mutual relation 
of these two keys is the ground work of all 
studies in transition. The pupils should be 
taught to draw a diagram of a principal key, 
with its first sharp key on the right, and its first 
flat key.on the left, observing carefully the shorter 
distances between n f and t d', and to learn, by 
rote, the relations of their notes. Thus, let 
him say aloud, reading from the middle column 
to the right, " d f, r s, m 1, fe t, s d," and so on ; 
and from the middle column to the left, "d s, 
r 1, m t, and so on. It may be interesting to 
mention, that in passing to the first sharp key, 
the old 1 requires to be raised a komma to make 
it into a new r; and in passing to the first flat 
key the old r is lowered a komma, to make a new 
L These changes need not trouble the learner, 
his voice will naturally make them without any 
special effort. 

Notation Of Transition. Tonic Sol-faists always pre- 
fer that their notes should correspond with the mental effect of 
the tones they represent. We therefore adopt the plan of giv- 
ing to some tone, closely preceding the distinguishing tone, a 
double name. We call it by its name in the old key as well as 
by tliat which it assumes in the new, pronouncing the old name 
slightly, and the new name emphatically, thus: S' Doh, L' Ray, 
T" Me, etc. These are called bridge-tones; they are indicated in 
the notation by double notes, called bridge-notes, thus: sd, lr, tm, 
etc. ; the small note on the left giving the name of the tone in 
the old key, and the large note its name in the new key. But 
when the transition is very brief, less than two measures long, it 
is more convenient not to alter the names of the tones, but to 
write the new t as/e, and the new fas ta. The notation of tran- 
sition by means of bridge-notes is called the "perfect" notation, 
because it represents the tones according to the new character 
and mental effect which they have assumed. The notation by 
accidentals," as/e and ta, is called the "imperfect" notation. 

The Signature of the New Key is placed over every 
transition, wlien written in the " perfect " way. If it is & sharp 
key (e. i. to the right on the modulator) the new distinguishing 
tone is placed on the right of the key-name, thus, O. t. If it is 
&flat key (e. i. to the left on the modulator) the new distinguish- 
ing tone is placed to the left, thus, f. F; and so on. By this the 
singer knows that he has a new t or a new f to expect. More 
distent removes would have their two or three distinguishing 
notes similarly placed, for which see Sixth Step. 

Mental Effects of Transition. The most marked 
effects of transition arise from the distinguishing tones which 



are used. Transition to cne first sharp key naturally expresses 
excitement and elevation ; that to the first flat key depression and 
seriousness. 

Manual Signs. It is not advisable to use manual signs 
in teachiug transition, because they are apt to distract attention 
from the modulator, with its beautiful "trinity of keys." The 
greatest effort should be made to fix the three !:ovs of the mod- 
ulator in the mind's eye. But if, on occasion, it is wished to 
indicate transition by manual signs, the teacher may, to indicate 
transition to the right ou the modulator, use his left hand (which 
will be to the pupil's right), thus: When with the right hand 
he reaches a bridge-tone, let him place his left hand close be. 
side it, making the sign proper to the new key, then withdraw- 
ing his right hand, let him proceed to signal the music with his 
left. He can use the reverse process in the flat transition. 

Cadence Transition. The most frequent transitions 
are those which occur in a cadence, that is, at the close of a mu- 
sical line. When these transitions do not extend more than a 
measure and a half, they are called Cadence Transitions, and 
are commonly written in the "imperfect way," that is, by using 
fe or to. Cadence transitions are most frequently made by/e. 
In singing, emphasize this/e and the first f that follows it. 

Passing Transition is one which is not in a cadence 
and does not extend more than two or three pulses. The com- 
monest form of the transition to the first flat key, is that in 
which it makes a passing harmonic ornament in the middle of 
a line, or near the beginning. It is written in the "im^c-"fot" 
manner. 

Extended Transition is that which is carried beyond 
a cadence. The first shurp key is much used in this way in 
hymn tunes, often occupying the second or third lines, and 
sometimes the greater part of both. 

Missed Transitions. If one "part" is silent while 
another changes key twice when the silent "part" enters 
again, it is neccesary, for the sake of the solitary singer, to give 
both bridge-notes, thus, rsd. But the chorus singer must disre- 
gard these marks and tune himself from the other parts. Such 
bridge-notes are commonly enclosed in brackets. 

Chromatic Effects. The tones/e and ta are frequently 
introduced in such a way as not to produce transition. When 
thus used they are called chromatic tones, and are used to color 
or ornament the music. Chromatic tones may also be intro- 
duced between any two tones of the scale which form the inter- 
val of a step. These tones are named from the scale-tone below, 
by changing the vowel into "e," as doh, de, <ray, re, etc.; or, 
from the scale-tone above, by changing the vowel into "a," as 
ie, ta, lah, la. The customary pronunciation of this vowel in 
Americais "ay," as in "say;" iu England it is pronounced "aw." 

Such exercises as the following should be carefully taught 
by pattern, from the modulator. Let them be first sol-faed, and 
afterward sung to laa. In fact, all the early transitions, and all 
the more difficult transitions, following later, should be well 
taught from the modulator. If this is not done, transition will 
become a confusion instead of a beauty and a treasure, to the 
learner. . 

In the following exercises the two methods of representing 
transition are shown. The small notes under the middle phrase 
showing the "imperfect" method of notation. Sing each exer- 
cise first by the "perfect" notation, and then by the "im< 
perfect" method. 



<58 



d : 



KEY D. 

i :n If : 



IT'G. KEY O. 

PI :r Id Jn Is :f 



s :~ 



n : 



FOURTH 

A.t 

pd :d It, :d 

s :s Ife :s 



f.D. 



n :r 

t :1 



d :- 



:n if :r Id : 



I"!, It, Id :n |r :r |d :- 

In :fe ' s :t 



f.C. 

d s is il :i 



s :f in : 



irr. KE? F. 

d IT |n :d |f :n |r 



C.t. 



s :d' Id 1 :t Id' : 

r :s ' s : f e ' s : 



f.F. 

l d 's :f 



:f In :r Id : 



s :f in :s Id 1 :t II : 



n>. KEY G. 

n :f s :n Id :r It, :- 



G.t. f.C. 

!r :n If :r Id :t, | d s I- 

1 : t I d 1 : 1 I s : fe I s : 

I>.t. f.G. 

jt.n :f i n :d Ir it ( | d si : 

It, : d 1 1, : 1, U, : fe, I s, 



m :f 



KEY F. 

s :n If :r Id i 



C.f. f.F. 

d f :n f :l Is :t | d 's : In :f in :r 

d : t. d : m I r : f e s 



Is :n If :r id :ti Id : 



d :- 



d :- 



Is, : 



KK.Y C. 

s :n |f :s II : 



G.t. 

:r 

:1 



A.t. 



f.C. 

r :n |r :t, | d s I 

1 :t II :fe Is :- 



- In f In |n Ir Id : | 



f.D. 



:d In Ir |d In Is If jn I 1 "!, s. Id |t, Id I n Ir | d s If In In |f In Ir Ir |d 

: m r : s |fe:s It : 1 |s 

Extended transition to the first flat key seldom occurs, so that it is not necessary to give more than one or two examples of it* 
1J**:*. KEY C. f.F. C.t 

It II I |i n :f In Ir Id It, Id I | d f If I n Is II It Id 1 : j 

ll :ta ll :s if :m If : I I I H 

G.t. 

d Ir In I hi, II, Is, Id [d It, Id ! 

f, :s, ll, : I I 



s :f I n :s 



d 1 



t. KEY G. f.C. 

n :r |d It, |d II, |s, : Kr In If Ir |d I 

U 'I, Ua, :. 



jn :r Id :t, Id :1, I 

* 



69 



1S5 


>. KB 


Y 


D. 


A.1 


f.r>. 


















/d' : 


s :f 




n :- 


- "1, 


: 


s, Id d 


it. 


d :- 


d s I s 


if 


PI I- 


- 1 


: 


s :d' 


d': 


t 


d< s- 


\ PI : 


d :t. 




d :- 


- d f| 


: 


s. Is, s. 


:f. 


PI,; 


".t,: d 


Ir 


d I- 


- d 


: 


d Ir 


m : 


f 


m :- 


(. 
8 .- 


s Is 




s I- 


- *d 


; 


d IPI PI 


Ir 


d I- 


d s I s 


Is 


s I- 


- f 


i- 


s 11 


s 




S 


s I- 


d:- 


n Jr 




d :- 


- d f, 


: 


PI, Id, s. 


Is, 


d,:- 


d .s,I-l 


It, 


d I- 


- f 


; 


PI If 


s 


: 


B| 


d :- 


ISO. KEY 


F. Joyously. 


THE BRIGHT NEW YEAR. 


HUBEKT P. 


MAIN. 


(i n IPI PI IPI 
d id |d id 
i l.Ver - nal spring and 
< 2. Slid -ing, skat -ing, 
('3.TW the for - est 


s If 
m Ir 

ro - sy 
laugh-ing, 
shades are 


f .PI 


Ir 


f If 

r It, 

Gold - en 
Down the 
And the 


1 

i 
i 
i 


f If 
r Ir 

ui - tumu 
ug - ged 
>irds have 


1 
f 


Is .f 


m : 

Id I- 

past; 

go- 
way; 


r.d 


IPI .r 


sum - mer, 
shout-ing, 
si - lent, 


all are 
hill we 
flown a 


a *Q 
S to 

d :d 


s Is 
d Id 


S 
B| 


Is 

IS, 


s Is 

s, Is, 


s Is 

a, Ir 


1 


S .1 It 


1 It 

t| IS, 


Id' 


Is 


; Is, 


d I 


C.t. 


































ml 1 11 ! 

/ A A I 1 * 

(df :f |f :f 

) O'er the face of 
< Hark ! the sleigh-bells 
We can war - ble 


S 
S 


Id 1 c 


l'.r' I m 1 


1 If 


.r 1 c 
r 

w 
w 
si 


I 1 Id 1 
i IPI 

.n - ter 
iiite aud 
ng as 


t .d' Ir 1 




d I 
PI I 

last; 
snow; 
they: 


i S Is 


f If 

Lone - ly 
O'er the 
We can 


f .PI IS .f 


na - ture frown-ing, 
gai - ly peal - ing, 
sweet-est mu - sic, 


comes at 
down - y 
light as 




( 8 d" :d 
\ df :f 


Id 

If 


Id 

If 




d 1 

PI 


Is |d 
Id c 


LI Id' 
I Id 


d 1 11 
f if 


Is 

S 


Is 

IS 




r' .d It 


Id I- 
|d I- 


BI 


Is, 


f.F. 


































d 's Ir 

"t, It, 

Yet she 
Can we 
Hap-py 


r Ir 

t, :t, 

brings us 
think the 
sea - son, 


1 Is 
d Id 

mauy a 
win - ter 
hap - py 


s .f In 


s 
t, 


Ir 

It. | 


r .m If 


PI :1 
d if 

fes - tive ( 
tones we ] 
far and r 


s 
PI 

;heer, 
lear? 
tear; 


I 


PI In 
d Id 

Now with 
Now the 
Take our 


|f If 

It, It, 
joy our 
cup of 
best and 


pi.r Id 


t .dlr 


pleas-ure, 
drear - y, 
greet - iug, 


Many a ncene of 
When such mer - ry 
Friends and kindred 


d 'S IS 


Is 


Is 


f : 


PI 


s Is 


S 


Is 


s Is 


S 


id 1 |d : 


s Is 


S 


Is 


d S , IS, 


Is, 




Is, 


d : 


d |d Id 


s, 


IS, |S| IS, 


d 


id |d :- 


d Id 


r 


Ir 


/is :d' 


|d'.1 


b 


a 


sJ: 


s.l 


s :-.PI 


r 


Is 


m I 


s.l 


IS.1 


S 


I-.rn 


r* Q 
tO 


|d :- 


1 d In 


|1 J 


3 


:f 


m.f :m S 


PI :-.d 


t, 


:t. 


d : 


<T 


it, |d i-.d 


t, It 






d 


: 


hearts are glow-ing, 
ipleas-ure spar-kles, 
kind-est wish - es, 


While we 
While we 
While we 


hail the 
hail the 
hail the 


bright New Year, 
bright New Year, 
bright New Year, 


While we 
While we 
While we 


hail 
hail 
hail 


the 

the 
the 


bright New Year, 
bright New Year, 
bright New Year. 


A\ a 

i U cB 


II .t :d' 


d' I 


1' 


Id 1 :-.s 


S 


Is 


s : 


PI 


If | 


n 


:-.s 


S If 


PI 


i 


rc Ed 


If 


:f 


d Id 


Id :-.d 


Sf 


:BI |d :- 


d 


Isj | d 


:-.d 


s, Is, 


|d :- 



FOURTH STEP. 

Bridge-tones approached by the interval of a Second. 
ISr. KEY F. C.t. 

d :n |r :f In :r Id : | 4 .n:f Is :s 



f.F. 



|t,n:f Is :s 1 :t id 1 : p's :m Ir :f In :r |d s- 
I I I I I I I 



KEY F. C.t. f.F. 

m :f Is :n id Jr In : | r s ;s Id 1 :t Id 1 :1 Is : Pntr in :s 



. KEY F. 

:f In :s If :n |r : 



C.t. 

I"! :t id 1 :1 |s :f |n : 



Bridge-tones approached by leaps of a Third, Fourth and Fifth. 
1OO. KEY D. A.t. 

n :r Id In Is :f In : | 8 d It, Id :s, ll| :t| Id : 



f :r Id S 



d :r In If In : 



f.F. 

f d : 



f.D. 

|i,n:f In :r Id :t, Id 



KEY C. 

Id 1 :s m :f Is : 



G.t. 



d :d in :r Id : 



f.C. 

t :t 



d 1 :s If :s In : 



D.t. 



f.G. 



s, : w :n if : r Id :t, Id : |'d:m |r :f In :r Id : 



10*2. KEY G. 

[n :r id :ti d :] 



1O3. KEY G. D.t. f.G. 

n :d Is, :m, s, :f. In,: H-r Id It, Id ir :f In : Pnln If :n |r :t, Id 



. KEY G. 

! d :t Id :l 



D.t. 



f.G. 



n,: j*.n :f |n :d Ir 



d : 



d :f |n :r |d : 



GRACIOUS PROMISE. 



11 .~. KEY D. 


A.t. 


B. C. U. 


8 JPl .f 


s :d' 


1 :t Id' : 


'n :n.f 


s :f 


n :r |d : 


d :d .t 


d :n 


f :f 


n : 


r si :li 


si :l 


s\ fi |n, 


l.Wait, my soul, up - 


on the Lord, 


To his 


?ra - cioas 


prom-ise flee; 


2. If the sor - rows 


of thy case 


Seem pe - 


col - iar 


still to thee; 


n :s 


d 1 :s 


1 :s 


s : 


d :d 


[d :d 


d :t, |d : 


d ;d JT 


PI Jd 


f ;r |d ;- 


d :l, 


n, if, 


8| JS| |d| t 



FOURTH STEP. 



71 



d s In.f 
*d :d .t, 


s in 
|d Id 

hold up - 
prom - ised 

|d< Is 
n Id 

A. 

s, Id 

Pl| IS, 

' conscience, 
hope, and 

d Id 

d| lpi| 

d Ir 

n, Is, 

loubts, my 
pres - ence 

Id It, 

Hi :s, 

D. CHKOMATIC 

S* 



r :n |f :> 

d Id |t| I 

on his word, 
need -ful grace, 

1 Is si 
f In r I 

NEW fc 

d ,1| :1, .d |S| I 


n In .f 


S If 


n Ir 

d It, 

strength shall 
strength shall 

S If 

s is, 

i 

s .f In .r 


d : 

d I- 

be." 
be." 

n I- 
d I- 

T. J. COOK. 
A. 

d s, I- 


d Id .t, |d Ir 


Lay - ing 
God has 

^n Is 
<d Id .r 


'As thy ( 
4 ' As thy c 

s Is 
d Id .r 


lays thy 
lays thy 

S II 

n If 

s In 
d Id 

man - sion 
ur constant 

s Is 
n Id 

s, id .r 


1OO KEI 

HI Id, .r, 

1. Sweet peace o 
2. Come, smiling 

1 * 1 '*l 

S, 11, .t, 

f. If, .f, 
Dis - pel my c 
Still let your 

t. Id .r 

1OT. KEY 

Jd in 


[OPE. 

E.t, 

*in In ,f 
8 ,d id .t. 

Come, fix thy 
Come, make yo 

r s Is .s 
s >d Id .r 

d :t, .1, 


1, .f, If, n, I- 


t. Id .t, | d s, I- 


heaven-ly guest, 
joy sin - cere, 

d Id d I- 

f, :f. .1, |d ;- 


in my b 
dwell - ing h 

s Is .f 


reast; 
ere; 

"t, I- 

d s, I- 

d I- 
n, I- 

soul, 
part. 

d :- 
d, :- 

d I 


s. Is, 
d It, 

Sj is, .f. 


n.s If .n n Ir .r 


s. Is, is, I- .f, 

fears con - trol, And 
cheer my heart, Nor 

d It, ,d d It, ,t| 


_ f 

Plj oS| ,I| 


Pl| IS; .1, 


heal the 
sin com - 

d Id 

S*fi* 
tin 


an - guish 
pel you 

d Id .f 


of my 
to de - 

n Ir 

s. Is, 

n ir 


d| t^Ir, ,d| s\ I- .s. 


d* X* 
i 'M\ .TI 


FE. 

s Ife s I 


s If 



10O KEY F. 

d 'm |r :m 



SOO. KEY D. 

n is II ;s 



. KEY G. 

m :d is, :fei Is, :l t 



:fe 



Jfe 



SOI, 

is Ife m In If Iff U II ?J 

f I | , 



: in :d 



:f 



Is 



: m 



PI 



Ife Is If 



fe Is 



Is 



Ir 



fe if 



n : 



d : 



n : 



^ _ ;^ js ;fe is Id' it :d' Is :f<j ;f |m : s 



72 



FOUBTH STEP. 



KEY G. Passing Transition to the first flat key. CHUOMATIC TA. 

Id' :s II :ta II :l Is : Is :l Ita :1 



II * Id' :- 



O3. KEY C. 

n 's Id 1 :ta 



m 



O4. KEY A. 

:d 8 :ta, 



Is :- Is :ta II :f 



1 :d' Is : Is :ta II :f In :r IK : 



:t, Id : |d :ta, II, :r Id :t, Id : 



OO. KEY A. 



* *d fc^ I* i \ 4" 
/*^\f^^ lYKY V/, 

S 

fab, | uie, ray, 



s :m id :ta, |l| :t, id : Id :m Is :ta II :t id' :- 



d : 



Is, :m ir :d It, :ta, ii, : 11, :ta, It, :d in :r 



SOT. KEY C. 

s :f in :l is :fe Is : Id 1 :ta II :r" id 1 :t |d' : 



j I s & :fe 

( | Sob, sob, fe, 



S in IT 



r .n :f .s In 

That's the wny it | goca 



Id' .d 1 ;t .ta I 

I Now well try to - ) 



\\ 



1 :s 

geth er, 



fe .s :f .s In 

Fe, sob, I'.ih, sob, I me; 



^ Ife .s :f ^ in 

Yes, | tbut's tbe way it | goea 



. KEY D. FE and TA as bridge-tones. 

A.t. 



Id :n Is :n |<f :1 Is : |fet,:d In :r Id :t, Id :- M:n Ir :f In :r Id : II 

orlir :n If :- I I I 



. KEY F. 



C.t. 



f.F. 



m :r Id :P Irs :f In : |fct:t Ud':t Id 1 :1 Is : \*f:m If :r [s :f in : ii 

orHf :n Ir I- or Rd 1 :1 \s :f In :- I I I II 



KBT C. 



FOUBTH STEP. 
TIRTUE WOULD GLORIOUSLY. 



n 



I 


: 


: : 


: 


s 


d' :- 


t : 












Vir - - - 


tu would 


So 


Vir ... 


m :d 

tue would 


1 :l 1 :* 

glo - ri - ous - ly 


f :m .f 


s :f 

ev - er 


m :ft 

shine By 


s :s 

her own 


and for - 


n' In 1 

glo - ri - 


PI' :r' 

ous ly 


d 1 :t .d' r 1 :d' 


t :s 

ev - er 


d 1 : 

shine 


By her 


ra - diant 


uud for - ev - er, 


s :s 


d 1 :t 


1 :s |f :fe 


s :- 


d :- 


f :f 


f :r 


ra - diant 


light, By 


her own ra - diant 


light, 


Though 


sun and 


moon and 


r 1 : 


- :d' 


t :d' r' : 


* 


: 


d 1 : 


t :s 


light, 


her 


ra - diunt light, 






Though 


moon and 


r :r 


PI :fe 


s :l |t : 


d' :- |t :s 


PI' :- 


:r" 


stars were 


in the 


deep sea sunk, 


Though 


moon and 


stars, 


Though 


n 1 : 


:d< 


f : PI' : 


r 1 :- 


- :r' 


d 1 :- 


r 
t 


stars 


were 


in the 


deep 


sea 


sunk. 




d' :s | 


d 1 :ta 


1 :t |d' :- 


-:d' It :t 


d 1 :- 


~~ 


moon and 


stars were 


in the deep, 


the 


deep sea 


sunk. 




GENTLY EVENING BENDETH. 
SIS. KEY Ay 


C. H. RiNft 


Sweetly. 
PI IP! 


_: 
r :r 


d : s, : 


1, :t, 




d IPI 




r : 


J 


d :d 


t, :s. 


s, '. PI, ' 


f, :fi 1 


s, :d 


tl ' 


: 


I. Gen - tly 
'2. Save the 
(3. And no 
4. Rest- less 


even - ing 
wood - brook's 
even - ing 
thus life 


bend - - - eth, 
gush - - - ing, 
bring - - - eth, 
flow --- eth, 


O - ver 
All things 
To its 
Striv - eth 


vale and 
si - lent 
life re 
in my 


hill, 
rest; 
lease; 
breast ; 




d. In, | 


s, :f, 


PI, I |d, '. 


f. :r, 1 


PI, Id, 


s, :- 1 


: 


PI SPI 


f :m 


r :- s :- 


d :f 


m :r 


d :- 


a 


d :d 

Soft - ly 
Heai its 
And no 
God a - - 


r :d 

peace de - 
rest - less 
sweet bell 
lone be - 


t, : d :ta, 


And the 
On t'ward 
O'er its 
Trau - quil 


d iS| 

world is" 
o - - cean's 
wave - lets 
even - ing 


PI, : 

still, 
breast, 
peace, 
rest. 


~~ o 


scend - eth, 
rush - ing, 
ring - eth, 
stow - eth 


d :l, 


r, :PI, .f. 


s, :f, m, : 


f. :r, 1 


s, :s, 


d, :- 


I 



FOURTH STEP. 



. nn x w n c, n r,. 
813. KEY Ep. 


B. C. UKSELD. 


n : 


n 


s :m 


n 


:r 


r : 


f 




:f 




s 


:r m : 


j 


i 
i 


d :d 


PI :d 


d 


t, 


t). 




r 


:r |t| 


:t, d :- 


i 


i 
t 


1. A - ny lit - tie 
1 2. Where we pitch our 
3. All a - long the 


cor - ner, 
night - ly 
wU - der - 


Lord, 
tent, 
ness, 




In thy 
Sure - ly 
Let us 


vine - yard wide; 
mat - ters not; 
keep our Bight; 


s Is 


s is 


8 


IB 


s : 


8 


:s 


s 


a a 
o 


"u 


d :d |d :d 


S| 


8 i |s, J 


s, 




:s, 


1 


S| 


Is, d ' 


t 


t 

i 


1 s :s 


H 


IB 


s : 


n 


r : 




r 


IB 


t 


:l 




s 








s :s 


11 


:d' 


1 PI :PI |f 


:m 


m : 


d It, :- 


t, 


IT 


r 


:d 


t| 




t _ 


d :d 


Id 


:d 


\ Where thou bid'st me 
< If the day for 
] On the mov - ing 


work for 
thee is 
pil - lar 


thee, 
spent, 
fixed, 




There I would a - 
Bless-ed is the 
Con - stant day and 


bide; 
spot; 
night; 


Mir - a - 
Quickly 
Then the 


cle 
we 
heart 


of 
our 
will 


( d 1 Id 


1 d' 


:d' 


d 1 : 


s 


s : 




S 


Is 


8 


:fe 


8 





. " 


n !n 


f 


:i 


\ d :d 


d 


:d 


d : 


d Is, :- 


8| 


:t, 


r 


:r 


| 





~ " 


d :d 


If 


:f 


d 1 :l 
d :d 


8 

d 


: 


s : 
d : 


s 
d 


1 :d' 
d :d 




d 1 
d 


:d 


8 


:m 


S 
PI 




:PI r : 

:d |t, : 


n :r 

b, It, 


d 
d 


: 


d 


:- 




sav - ing grace, 
tent may fold, 
m like its home, 


That thou giv - est 
Cheerful march thro' 
Will-ing, led by 


me a place 
storm and cold, 
thee,. to roam 


A - ny - where, 
With thy care, 
A - ny - where, 


A. - ny - 
With thy 
\-ny- 


where, 
care, 
where. 


1 :f 
f tf 


n 

Id 


: 


PI :m f :l 

d :d |f :f 


1 
f 


:f 
:f 


PI 


IB 




8 

d 


:s s : 
:d s, : i 


3 :f 


n 

Id 


: 


d 


j 


S14. KEY El?. 


THE LOVELY 


LAND. 


R. LOWBY, by per. 


11. There 
(2. There 
)3. Sweet 


d 1 :t | 
n :f i 

is a 1 
ev - er ] 
fields a - n 


i 1 :s 

5 JPl 

and of 
ast - ing 
ong the 


1 :l 
d :d 

pure de - 
spring a 
HW. 11 -ing 


1 .t 


:d' 


s ! 


s 


.f n :r 


d : 
d : 

reign; 
flowers; 
green ; 







d :d 

light, Where 
sides, And 
flood Stand 


PI :n 


j d :t, 


saints im - mor - tal 
nev - er fad - ing 
dressed in liv - ing 


(id 


s : 
d : 


s i 
r 


s : 

n : 


8 

d 


f :f |f 3 :l 


d 1 

s 


:s 

:s 


s :f 


n :- 
d :- 


- 1 

- 1 





f :f |f 


:f 




:s <3 


[' :t 


|d' :s 


] 


i :l 




1 .t :d' 


8 


:s S 


m :r d : 


1 




:m r 


i :f 


s :m 


< 


1 :d 




d 


" :d 




PI 


In 4 


|d :t, d :- 


: 




In - 
Death, 1 
So t 


n - ite day ex - < 
ike a nar - row t 
o the Jews old < 


eludes the night, And 
iea, di - vides This 
3a - naan stood, While 


pleas - urcs ban ish pain ; 
heaven-ly land from ours; 
Jor - dan rolled be - tween; 


:s s 


I 


s :i 


1 


r :f 




f .s :l 


d 1 


: 


s :f n : 


" e 


Ji 


\ :r 


n :d 


1 


r ;f 


if 


";f 




8 


U |i| f'i d :-- 


-* f 



FOURTH STEP. 



75 



s :- .n |1 is 


n :r 


d Ir 


n Id 1 ,,d' 


t .1 Is .fe 


s :- 


, n I- .d |f In 


d It, 


Id It, 


d In ,,PI 


r 


Ir 


r :- 


Oh ! the land, the 


love - ly 


land, The 


land o - ver Jor 


- dan's 


foam; 


s : - .s |d' Id 1 .s 


S If 


n Is 


S IS .,8 


s 


It .1 


t I- 


d I- .d |d :d 


S| IS, 


Id Is, 


d Id ,,d 


Ir 


Ir 


8, I- 


IS .8 


d 1 It |d< Is .,s 


1 .1 11 


.1 |1 .t Id' 


s Is . 


,f 


n Ir 


d 


In n 


n If sin .,m 


d.d Id .d |d Id 


n In . 


,r 


d It, 


d 


On the 


gold - en strand, Wait the 


happy, happy band, To 


wel - come the ransomed 


home. 


Id 1 ,d' 


s Is s Is ,,d ! 


d'.d'Id'.d 1 |d'.t Id 1 


s Is . 


,8 


s If 


n 


*d ,d 


d Ir n Id .,d 


f .f If .f |f If 


s Is . 


,S 


s. Is, 


d 



- I- 



MAY IS HERE. 



s, .,s, In I- .r 


d .Pi|il| Is, 


S, .,S| II, 


It, 


d ,,r 


n Id 


s. 


,,S|In :- .r 


n,.,n|IS| :- .f. 


n, .pij if, In, 


s, .,s, Ife, 


If, 


HI '<fi 


Is, In, 


n. 


,,n|IS| I- S\ 


I.May is here, the 


world re-joic - es, 


Earth puts on her 


smiles to greet her, 


Grove and field lift 


2. Birds, thro' ev - ery 


thicket call - ing. 


Wnke the woods to 


sounds of glad - ness, 


Hark ! the long - drawn 


3. Earth to heav'n lifts 


up her voic - es, 


Sky, and fields, and 


woods, and riv - er, 


With their heart our 


d ,,d Id I- .d 


d .d Id Id 


t, .,t,:d 


Ir 


d .,dld Id 


d 


,,d Id 1- ,d 


d, ,,d| Id, I- ,d| 


d, .d, Id, Id, 


S, .,S| IS| 


IS, 


d *.d ! 


d Id 


d, 


.,d,:d, :- .d, 


d,i 
.,n,ii| .S| 


1 + j 


d .,r in 


Id 


1 .,sl 


r I 


f.,nld I 


n|.,n|If, In, 


S| ,,s, Ife, If, 


ni.,f|IS| 


In, 


t| ,,t| I 


t. :- 


d.,d Id I 


up their voic - es, 


Leaf and flow'rs come 


forth to meet her. 


Happy May, 


blithesome May, 


notes are fall - ing, 


Sad, but pleas - ant 


in their sad 


- ness. 


Happy May, 


blithesome May, &c. 


heart re joic - es, 


For his gifts we 


praise the Giv - er. 


Happy 


May, 


blithesome May, &c. 


d .,d Id Id 


t,.,t,:d Ir 


d ,,dld 


Id 


r M r I 


f : 


d. 


d. ~ . 
.n . 


d ( .,d|Id| Id, 


.,*:., :s, 


d .,d:d 


Id 


s,.,s,I 


s, :- 


d.,d Id I 


n.,rll| It, d.,rln If l.,slr I 


f.,nld I- 


n.,r II, It| 


d.,mld I 


S|,,i|it| If, n,,,f|IS| I t|.,t|It I 


d.,dld I 


S| .,f. If, If, 


ni,,S|In, I 


Winter's reign has passed away; Happy May, 


blithesome May, 


Winter's reign has 


passed away. 


s. s s:r Ir d.,dld Ir r.,rlf I 


d,,dln I 


s..slr Ir 


d.,d;d : 


S,.,BI;II ;$| d,,d;d :- S|,,S|iS| ' 


d, t ci;d ; 


si,,si;si :si 


d| M d|!di J II 



76 



FOURTH STEP. 



ONWARD, CHRISTIAN SOLDIERS. 



S1O. KEY F. M. 120. 


A. S. SULLIVAN, MUH. Doe. 


8 IS a 


Is 


s :- 


1 S I- 


r :r |d :r 


n : i 


d In s Id 1 


n In PI 


In 


f :- 


|f I- 


t, *t, 1 1, It, 


d I- - I- 


d Id d Id 


1. On ward, Chris-tiau 
2. Onward, then, ye 


sol - 
faith - 


diere, 
- ful, 


March-ing as to 
Join onr hap - py 


war, 
throng, 


With the cross of 
Blend with ours your 


d :PI s 


Id 1 


d 1 I 


t I- 


S IS 8 IS 


si I 


s is s In 


d :d |d 


Id 


r I 


|s, I- 


s If PI Ir 


d 
^^ 


n IPI n In 


d 1 :- t 


. 


1 11 


PI Ife 


S 



r Ir s Ir 


n :- S n \ 


r : r 


; 


d Id 


|d Id 


t, I- - I 


t. It, r It| 


d :- j |d : 


Je - - - sus 




Go - ing on be - 


fore; 


Christ, the Hoy - al 


Mas - ter, 


voic - - es 




In the tri - umph 


song; 


Glo - ry, laud and 


hon - - or , 


s :- .1 s 





fe Ife 


[B 11 


S I- - I 


s Is s Is 


s: s : 


r :- Ir 


I 


r Ir 


Ir, :r, 


8, I- - I 


S, IS, t, IS, 


d :- |d s ' 


S'c 1 i\\ 
o 11 


Is 


1 I 


_ ._ 


1 Is |f Is 


1 Is f Is 


1 Is |f in 


d Id d 


Id 


d I- 


I 


d Id |d Id 


d I- |d :- 


d Id r Id 


Leads a - gainst the 


foe ; 




For - ward in - to 


bat - - tie. 


See his ban - ners 


Uu - to Christ the 


King; 




This, through count-less 


a - - ges, 


Men and an - gels 


m :m s 


Im 


f I- 


I 


f IPl |f IPl 


f IPI |f In 


f In r Ir 


d id PI 


Id 


f I 


I 


f Id |1, Id f Id |1| Id 


f, :f, If, :fi 


r I 


- I d 


Id |d Id d It, J t, Id r Ir ;r Id j 


t, :- 


I s, 


IS, 8| IS| S| I |S, I 8, IS, |8, IS, 


g 0) 


oi 


i - ward, Chris - tian sol - - - - diers, March-ing as to 


sing. 


Oi 


i - ward, Chris - tian sol - - - - diers, March-ing as to 


S "" 


I PI 


IPI m in f i- |f i- f if |f :f 


s, : 


I d 


IS| d IS| r ;S, |r Is, t, Is, |t| Is, 


n - |- 




s Is 


|d' It 


d 1 I- s : 


f in r :-.d 


d : : 


, :- I- 


: 


PI IPl 


|f If 


PI I- |d :- 


d Id |t, :-.d 


d : | : 


war, 




With the cross of 


Je - - - SUB 


Go - ing on he- 


fore. 


war, 




With the cross of 


Je - - - SIIK 


Go ing on be- 


fore. 


n :- |- 





d 1 Id 1 


s Is 


8 I 8 I 


1 Is |f I-.n 


n I | 5 


d 2 - 


: 


d Id 


r Ir 


PI I Pl| I 


f| If, |S| I- .8, 


d : | : 



FOURTH STEP. 



77 



__ ^>^ ' __ *. *. ft 1 J_^ JL V XX A' JLU. J^/ A V V^- A 1-^ vJ 

S*1T'. KEY E. BEBNAKD SCHMIDT. 


s 2 s :s 
d :- |d :t, 

i F& - ther of 


g 11 

d : |d :- 

mer - cies, 


P 
d :-.d|t, :d 

d .' ,S| S| !S| 

When the day is 


^ |d : 

t, :- |d : 

dawn - ing, 


B.t. ores. 

s d : |d :r 

d f, :- |s, :s. 

Then will I 


\ / ! 

n : |f :l, 


si :i, I, :f, 


p;,y my 


/ m : s :f 


PI : f :- 


n J-oPi r in 


f : 


n : 


In l| J |d it. 


d : r : 


d : n :r 


d :- If, :- 

f.E. /* j 


S| .' ,S| |si :si 

pp 


s, :- |d : 


d f, : PI, :S| 


d :l, f, : 




s, : t| : 
i PI, : |s, : 


d f 

s .r : :r 


m : s :f 


PI :- 
d :- 


m : 

1. :- 


r :-j- d :d 

t, :-.t, d :l| 


d : |tj la 


d : d :- 


< vows to 


thee. Like 


in - cense 


waft - ed 


on the breath of 


morn - ing My 


i r f t\ r * 
* U r 


pi-4- , Q 
u t to 


s : (ta :1 


s : 
d : 


fe : 

|d :- 


B :-.s m :r 

t| :-.t||l| :fei 


PI : r :f 

B, : |s, :r 


s i Is, : 


d : d :- 


cres. 

s : s : 


s : :f 


PI : r : 


d : 


, 


f.A. -= =^ 

d s, : s, :s. 


1, : Is, : 


i d : n : 


PI : :r 


d : t :- 


d :- 


: 


^m,: m\ :m. 


f, : PI, : 


< heart - felt 


praise to 


heaven shall 


be. 


Yes, thou art 


near me, 


n : |d' : 
d : |d : 

m^nr^ i, 


\I<A> 

n : 

:- |s, :- 


:f 

E.t.- 




Still 


s : s :f 


m :- 
d :- 

==-^ 

un - 


: 


: I : 
: f : 


o 


s : [si : 

. 
. 

- |si :s, 1, :- 

doth thy care 


m :d 1 :t| d :- :P 


S| jpi| 1 1| ti| i| 


i m :- |PI :PI 


Sleep - ing or wak - ing, 


changed re - main. If ev - er I 


l i 

I 8 . 
| * 


_ , _ t _, f t 
PI .- PI .PI I t 


n :- 


s :PI |f 


:- n :- :d' d 1 :- s :s 
: : ( s i :d d -- rn in 


: 


, d':- |t : a Is IFitld' 


d 1 :- |t :l s :- 
f :- |f :r m :- 


PI :- 
d :- 


dim. pp 

s :- n :- d :- r :- $. :- \- :- 
r :- |d :- d :- |t, :- d :- |- :- 


( f :- |f : ,f PI:- m :- 


< wan - der, thy ways for - 


sak - ing, O lead me 


gen - tly back a - gain. 


/ s :- |s : j m :- s :- 

\ r :- jr : .t d :- n :- 


s :- s :f m :- 
r :- |r :t, d :- 


s :- 
d :- 


s :- d :- n :- |f :- n :- |- s- 

t,:- d :- 1, :- |s, :- d :- |- :- 



78 



FOURTH STEP. 



HURRAH FOR THE SLEIGH-BELLS ! 



FANNY J. CROSBY. 




T. F. 8WABD. 


SIS. KEY G. 




TN 


.3, PI .PI ,f *.P1 J 


r .d :si 


li J| ,d :t| ,t| ,r 


d .s :s ,s, | 


.HI si .si ,1| :BI .fi 


fi ,pi| :ni| 


fi .f| ,f| :f| .fj ,f| 


HI .s, :s, .PI, 


l.Hur- rah for the sleigh-bells! 
2. Oh! now is the time for 
3. We'll sing with the bells in 


here we go, 
mirth and glee, 
cho - rus sweet, 


Jing, jingle, jing, jingle, jing, jing, jiug; A - ( 
Jing, jingle, jing, jingle, jing, jHng, jing; And > 
Jing, jingle, jing. jingle, jing, jing, jing; We'll [ 


.d d .d ,d :d .d 


d .d :d 


df f 'v r t 
.1 .1 .1 .1 ,1 


|d .m :m .d 


.d d .d ,d :d ,d 


d .d :d 


ff f 
j ,I| ,I| S| ,S| ,S| 


|d .d :d .d 


(PI ,m ,f :PI J r 


.d :si 


1, .1, ,a :t, .t, , 


r, d :- . 


1 S f 


.PI, :n, 


f f f 'f f 

ii j| ,i .i| ,i| , 




way o'er the white and drift - ing snow, 


Jing, jingle, jing, jingle, jing. 


/ yon - der an - oth - er sleigh we see, 
) sing till we reach the vil - lage street, 


Jing, jingle, jiug, jingle, jing. 
Jing, jingle, jiug, jingle, jing. 


/ d .d ,d :d .d Id 


.d :d 


d .f ,f :r .r ,t, |d :- 


\ d .d ,d :d .d d 


.d :d 


fi .f. ,f. :s, .s, 


,8| d l t 


D.t. SOLO. 






, r s s .s ,f :PI .r 


d :- .d 1 


d 1 .1 ,t :d' J 


8 8" J 


The stars are beam - ing 


bright, The 


night is cold and clear, While 


Rein up the steeds just 


here, With - 


in this rii - ral dell. They 


Oh ! hap - py sleigh - ing 


time, We 


hail it with de - light! And 


Inst., or may be ming with voices to laa. 






t m f 


.n : m .n 


.f : .f 


.PI :n .PI 


. 8 .d : .r 


.d :d .d 


.d : .d 


.d :d .d \ 


. r s : .s 


.8 IS .8 


.1 : .1 


s *s a 

.9 B ,o / 


",d . :BI . 


|d . : 


fi :fi . 


j 




/TS 




s .s ,f :m .r d 


.d 1 :d' .s 


1 .1 :t .t 


Id' :- . 


down the rug - ged hill 


we glide, And 


siug with mer - ry 


cheer. 


want to join us, let 


them come, We 


know the par - ty 


well. 


who would mind the win 


- ter's cold, On 


such a joy - ous 


night. 


.n : .f 


.PI IP! 


S : S 


|m :- . 


d ' .r 


.d :d 


.d : .r 


d :- 


.s : .s 


.s :s 


J : .s 


s :- 


d . !S| . d 


. ' 


f| *8| . 


Id :~ . 


i.G. CHOivUS. 






/. d S| PI .PI ,f :n j 


r .d :BI 


1 .1 .d :t| .t, .r !d .8 :s .8, \ 


V^ipij S| ,S| ,1| !S| .f| 


| fj .pi| .pi| 


fi ,f| ,f| :f| ,f| ,f| | 


m 


< Hur - rah for the sleigh-bells ! 


here we go, 


Jiug, jingle, jing, jingle, jing, jing, jing, A - } 


f.'d d .d ,d :d .d 


|d .d :d 


d S ,f :r j- ,t. 


d .n 'n ,ii i 


Vd d .d ,d :d .d 


|d .d :< 


f .f, ,f| :si .Si ,s, d .d Jd .d / 



POUETH STEP. 



79 



m .ni,f:pi .r \T .d is, 

way o'er the white and drift-ing snow : 

d ,d,d:d .d |d .d :d 
d .d,d:d .d |d .d :d 



li .l|,dlt| .t|,r|d 

ff /* ^* -C X* ' 

, .ti,i|.ii .ii,ii|pii 

Jing,jingle,jing,jingle.jing; 

d .f,flr ,r,t||d 



Jingle, 
- .8 ,8 



pi,pi.r,rlm .s |d 
d,d.t|,t|ld ,t| , d 

j ingle, jingle.jingjing.jing. 
8,8 .8 ,8 IS .r | PI 

d,d.S|,s,!d ,S| |d 



S1O. 


KEY A!?. 




CHIME AGAIN. 


PI :- .r 


:d 


n :- 


.rid 


f :l, 


:t. 


d : 


s, :- .f 


:BI 


s, :- 


S| IS| 


li :f| 


:fi 


m, : 


1. Chime a 
2. Chime a 


- gain, 
- gain, 


chime 
chime 


a - gain, 
a - gain, 


beau - ti 
beau - ti 


- ful 
- ful 


bells, 
bells, 


d :- .d 


:d 


d :- 


.t,:d 


d :r 


ir 


d s 


d| :- .d 


:d| 


di i- 


ff\lm\ 


f. :f. 


:s, 


di I 



d :- .t, :li 

li :- .8, :f| 

Now your soft 

Lin - ger a - 

d :- .d :d 

f f *f 

ii .- ,i| .i| 



H. K. BISHOP. 

s, :d :r 



mel - o - 
while o'er 

d :d 



dy 

the 



n :- .r :d 


r : : 


PI :- .r :d 


m :- .r :d 


f :l, :t| 


d I 


si :- .siifei 


s, : : 


si :- .f| :m. 


s, :- .siisi 


li :f| :f| 


HI I- 


floats on the 
deep dusk-y 


wind, 
D. S. 
bay, 
D. S. 


Burst-ing at 
Voi - ces of 
Faint - er and 
Lone-ly I'm 


in - ter - vals 
friend-ship still 
faint - er your 
left on the 


o - ver the 
ring in each 
mel - o - dy 
wa - ters to 


sails, 
sound, 
swells 
weep, 


d :- .r :r 


tt 
1 


d :- .d :d 


d I- ,t| Id 


d :r Ir 


d :- 


d :- t, :l, 


S| : : 


d| :- .d| :d| 


d| I- .rilPi, 


ft / 
i ii <s i 


d, i- 



d :- ,t. Hi 


si Id Ir 


n If I- .r 


A 
tl 


li i- .si :f| 


P1| IS| Il| 


s. Is, I- ,f. 


PI, :~ : 


Leav - ing a 


train of af 


fee - tion be- 


hind. 


Bid - ding me 


wel - come that 


chime with a 


tear. 


Fast fades the 


land and your 


sound dies a 


way. 


Chimes of those 


beau - ti - ful 


bells to de- 


plore. 


d I- .d Id 


d Id Id 


d'r t. 
1 .L; 


d :- : 


f, :- .fi :f| 


d, :pi| :f. 


S, IS, I- .S| 


d, i : 



FINE. Ei?.t. 

r s Is Is 

l iPl I PI I PI 

An - swer - ing 

Now the cold 

,d Id Id 



l 


Is 


Is 


f 


In 


IPI 


ech - 


oes 


that 


lamp 


of 


night 


d 1 


Id' 


Id' 


d 


Id 


Id 



:f :r 



n Ir 

gath - er 
sil - ver 



d* 



a 
the 

If 

;s, 



d I 
d I 

round, 
deep, 

m I- 
d I- 



s Is 
d Id 



Is 
Id 



Cull from the 
On sails the 



PI 

d 



IPI In 
Id Id 



1 Is 


IS .8 

Id .d 


s 
d 


d I- 


heart 
bark 


every 
from our 


wish 
own 


f - _ 
PI 


Id.d 


n 
d 


d I 



I- .1 It 

I- .d Ir 

that is 



f.Ab. 



dear, 



be-loved shore, 



I- .f If 

- f r 
fi * 



D.S. 



80 FOURTH STEP. 

. KEY D. CHROMATIC TONES. 



Id :t, |d : Ir :de |r : in :re |m :d if : | : Is :fe |s : > 
il :se |1 : It :le |t :s Id 1 :- | : Id 1 :t |d' : It :ie |t : I 
II :se |1 Id 1 Is : | : If :n If : In :re |n : |r Ide |r :n Id I I : 



. KEY G. 



in :re :n Id :t, :d is, :fe, is, il, : : jr :de :r If :n :f jt He, :t, Id : : ) 

|l. :se, :l| |r :de :r If :n :f ir : : is :fe :s In :r :d It, :le, :ti Id : : || 

SSS. KEY C. Staccato. Round in two parts. T. P. 8. 

(id 1 Id 1 jtJelt II II |s.fels if :f |njeln Ir ?s |d : ) 

( I Trip, trip, fairies light, | Dane-ing all the night, | 'Neath the stars so bright, I Here and there. f 

ild :d lr .de:r If :f (njein II :1 s .feis It :t |d> : n 

( I La la la la la, I La la la la la, I La la la la hi, I La la la. J 

JS:*. KEY F. Round in three parts. * T. F. S. 

(|n:n |re :- |m :n |re : In Is |f IT Id Ir |n : Is Is |fe I Is Is |fe : i 

( | Summer flow'rs, I past and gone, | Show an-oth - er I year is done; I Autumn winds, ' sighing low, 

Sis In |r If In Ir |d I Is, Id 1, Id Is, Id !1, Id Is, Id 1, If, Is; it, |d I- II 

(\ Tell us how the I time doth flow; (Spring and summer, I nutuiuii, win-ter, 'Teach a lea - son I we should know. II 



SS4. KEY D. 

d :d 



t, :d Ir :r |de Ir In :n Ire :n If : | : Is Is |fe Is j. 
II :l |se :i it :t lie it Id 1 : | : It :t |d' :t 11 :i |ta :l > 
Is :s (la :s If : \ : In :n |f :n Ir :r |nalr Id :d |ra Ira Id I | S n 



FOURTH STEP. 81 

. KEY I>. 

.a rt ,d :de |r Ide |r :re In ire |n in ]f : f i Is :fe js :ae 



] 



} 



II ise 11 ne j,. :le jt :t id' : | : It :d' It :ta ji :ta |l :la ) 
|s :la |s :sa If : I : In :f |n Ina Ir Inajr :ra Id :ra |d :t, Id : | : 



ii 



SSO. KEY G. Round in two parts. 

d Ide |r It, Id itaj ]1 ( It, 

Sum - mer days are I now de - clin - ing, 

(In :s |f :r ]n Is |f Ir 

\ | Dim - ly see the j sun is shin - ing 



22Y. KEY C. Round in two parts. 

d' : |t :ta |1 Ha |s 



d :de |r :re I n :r |d 

With their pre - cious I gold - en hours; 



n In |f Ife 

Thro' the fad - ing 



s If jn 

groves and bowers. 



:d |r :n If : |n Ire 



s : jft :f in : | : j 
n : }na :r Id :r .n |f .s :1 .t K 



NOW THE WINTRY STORMS ARE O'ER 



*"**"* *^ IT 

- *^^ j \ 

n ire In 


EY C. 

s I Id' 
n I In 

win - try 
spon - sive 

|d' I Is 

Id : id 


d 1 It Id' 


i :-:- 


r Ide Ir ff I II 


1 
s Ife Is 


\ F. SEWABD. 

n I : 

d I- I 

store; 
love; 

o 
s 

d J 
u. 


d I Id 

1. Now the 
2. Now re - 

s Ife Is 


f : if |f i : 

storms are o'er, 
through the grove, 

1 Ise 11 |d' I I 


t| :le, :t| 


ocks her 
uned to 

S I It 

s I Is 


n Ire In 


Spriug un - '. 
Soft - ly t 

S I IS 

S a 
ca 


ver - dant 
Spring and 

d 1 : Id 1 
d I Id 


d I Id 


f I If 


f : : 



n Ire In |s : Id 1 


d' It Id' |1 I- : 


t He :t 


n'l Ir' 
s I If 

reathes the 
ings of 

S I IS 

S, I- IS, 


d 1 I Id' 
n I If 

May. the 
May, sweet 

S I 11 

d I Id 


d' I : 
n I I 

Vlay 
May 

s i : 
d : i 


d I Id |n I In 

Srnil - ing pleas - ure 
Ech - o with her 

s Ife Is |d' I Ita 


f I If |f I I 

crowns the day, 
sport - ive lay, 

1 Ise 11 |d' I I 


r Ide Ir 


Sweet - ly b 
Sweet - ly s 

S ~~~ S 
S S 


d I Id |d I Id 


f ; :f If :- : 



FOURTH STEP. 



SO. KEY 



M. 100 twice. 



RISE, CYNTHIA, RISE. 



di : |_|d :r 

Kise, Cyn - thia, 



d 1 : :s |d': :s 

tip - toe stands To 

n '. In | n I id 
s I Id 1 s I Is 

tip - toe stands To 

d I Id |d I In 
m If Ir |pi I Id 

Phoebus on fleet - est 

d Ir It, |d I IS| 



f. El?. D.C. 

f In Ir | d s I 

nil his race. 
8, I- If, Kt,I- 

r_id it, |a s :- 

all his race. 

S| : IS| | d ,Sl 

d : : |r : :- 

ah! in 





f In If 


s : : 


' c 
~~ a 


Rise, 


Cyn - thin, 


rise, 


The 

A T 


I I 


r Id Ir 


n I I 


I Id 


: : 


j j 





I Id' 








The 


i : 




: ; 


I In 



1 : is jl : :t 

rud - dy morn on 

dl Id |d I If 
d'l Id'Id'I Is 

rud - dy morn on 



BtU, 



Is 


s I Is 


s if :n 


nl I- 


r I I 


8 d Ir It, 


d I Is, 


d I In 


|d:-:-\ 


To 


view thy suiil - ing 


face. 




Phoebus on fleet - est 


cours - ers 


borne, 


id 


dl Id 


r I Id 


d :-:- 


t, :-: 


: : 


: : 







Is 


s I Is 


s I Is 


s I I 


; ; 


i j 


j j 







To 


view thy smil - ing 


face. 










In 

,1 


nl In 


t, I Id 


s, I-I- 


. 







i 


: : / 


Id 

est 

Is, 


nl Is 

cours - ers 

d I Im 


n I Is 

borne, Sees 

d I Id 


none so fair in 

d I Is, |s, I Is, 


In Ir 

all his 

Si : Is, 


n I Is 

race, Sees 

s, I Id 


s I In 

none so 

d I is, 


n I Is 

fair in 

S, I IS, 


1 
1 





;^>:n 


nl Id 


d I In 


r Id It, 


d I In 


nl Id 


d I in 




S'H'S 


none so 


fair in 


all his race, Sees 


none so 


fair in 


ft 
I 


t 


::d 


d I Id, 


d.I-d, 


8,1 IS, 


d I-Id 


dl Id, 


d,I id. 


S 


Q *f 'a 11 *a 

o.l o 1 1 .0 


f : in 


f I If 


fin If 


s I If 


n I Ir 


n I 18| 


The 


cir - cling hours that 


stay be-hind Would 


draw fresh beau - ties 


from thine 


eye; Then 


m 


nlr Im 


f I In 


r I Ide 


r I :r 


r Idelr 


n I Ir 


d I It, |d I I 


1 


1 : _:i |i : _:i 


1 I- 11 |1 I- Is 


s : is 


8 ' " S 


s I Is 


Q 


The 


cir - cling hours that 


stay be - hind would 


draw fresh beau - ties 


from thine 


eye; 


1, 


!,:-:!, |1, ;- :l, 


rl-Il, 


r I is. 


8|I IS, 


S| I IS) 


d I Is, 


d I I 


| 


n I Ir 


d I Ir 


nl-l- 


f 

X 


s : if 


n I is 


1 : is |l : it 




pit - - - y, Then 


ah! in 


pit - - - y, In 


pit - y 


to m.-iii- 


[ 





I Is, 


dl I 


r : : 


nl Ir 


d : id 


d I Is 


f * 'r 

1 * n L 




: ; 


i 


: : 1 




: : | ; id' 


d 1 : Id' |d' I Is 










In 


pit - y to man- 


i 

i 


t 


: : 


: : 1 


: : 


t m 

i . n 


f : :n If : :f 



kind, 

d: : 
s : : 

kind, 

m:: 



|~:- :d' 

No 

|-:-:d 

|-:-:s 

No 

|-:-:m 



d 1 . ; |s : :m 

long - er wrapped in 

d : :n |n : :d 
s : :d" |d" : :s 

long - er wrapped in 

n: :d |d : :d 



FOURTH STEP. 

r IPI ;f I PI : :d' 

vis - ions lie, No 

t, ;d :r |d : :d 

S* let Q 
.9 |S to 

vis - ions lie, No 

s : :sj |d : :PI 



83 



d 1 : :s 

long - er wrapped in 

d : :n PI : :d 



long - er wrapped in 

n : :d |d : :d 



f :i 



r ;d 



D.S. 

:r (d : 

ions lie, 

:t, Id : 



s : :f |n: 

vis - ions lie. 

s : :s, Id : 



WITH THE ROSY LIGHT. 



S3O. KEY C. M. 120. 



T. F. SEWABD. 



JPI .f 


s :d' |r' :PI' 


f :l 


I :l J 


1 a 'a 1 

1 O . B .1 


|t :d' j' 


m 


.d'ld'j 1 


n 1 :n .f 


:d .r 


n :n |f :s 


1 :f 


1 :f .f 


f .f :f .f 


f :n.f 


s 


.PI I PI ,f 


s :d .r 


2. \Viththe 
3. By the 


ros - y light of 
wood-land streams we'll 


morn-ing, 
wan - der, 


Where the 
Till the 


merry birds awake, And the 
merry bird has gone To its 


laughing waters flow, We will 
quiet leaf-y nest, And the 


:d' .d' 


d 1 :c 


i 1 |d' :d 


d 1 :d' 


Id'.d 


t .t :t .d 1 


r 1 :d' .d 1 


d 1 


.d':d'.d |d" :d'.d' 


:d .d 


d :d |d :d 


f :f 


:f.f 


SO * Q O 
*D 9 o 


s id .d 


d 


,d id .d 


d :d .d 
















FINE. G.t. 


s 


Id 1 


r 1 :m' 


f 


:l 


:l .1 


i .s Is .It 


Id 1 .r 1 


d 1 


. 


^PI.PI 


PI 


:PI 


|f IB 


1 


:f 


- :f .f 


f .f :f .f |f 


, f 


PI 


. 
. 


: s d.d 


haste 


with 


joy and 


glad 


- ness, 


Singing 


gayly as we go, as we 


g 


0. 




We will 


gold - 


en 


sun - beams 


dy - 


ing, 


Gently 


linger in the west, in the 


west. 


Then the 


d 1 


,d' 


| d' *d 


d 1 


:d' 


- :d' .d 1 


t .t :t .d 1 r 


1 :s .s 


s : 


^8.8 


d :d 


|d :d 


f 


:f 


- :f .f 


S ,S IS .8 |S 


IS .8 


d 


. 



:"d.d 


f .r :r .PI 


f :s .f 


rn 


tS| .d i 


n :f .PI 


r ,t| It) ,d r 


in ,r 


d 


:d ,d |d :m .m 


r ,t| 


:t| .d 


r :n ,r 


d 


JS| ,S| 


3| IS| ,S| 


S| ,S| IS| .8) | S 


1 *S| - s 


S| 


Jpii.fi |S| :d .d 


carol 


to the breeze. Where the 


old 


for - est trees Wave their 


branches in the ray Of the 


bright king of day, And the 


fairies tripping light, To the 


fields say good-night, With a 


footstep glad and free We will 


bound o'er the lea In our 


S .3 


S .8 


s 's .s 


S 


:pi .m s 


[o a 
. O cO 


f .r :r .PI If 


IB .f 


PI 


:d .r 


m :s :s 


Si. Si *S| ,S| 


s, :s, .s, 


d 


:d .d |d :d .d 


s.,8, :s,.s,|s 


:s, .s, 


d Idi ,di 


d, :d :d 
















f.C. D.C. 


f .r I 


r .PI 


|f IB .f 


PI 


:si .d 


n :f .n 


r ,t| :t| .d 


r :PV ,r 


*s :- | 


( r.t, : 


t, .d 


r In .r 


d 


:s, .s, 


|S| IS| ,S| 


S,.S, IS, .8 


1 S| IS| ,S| 


".r : j 


music from the 


dell. Where the 


young lil - ies 


dwell, Shall be 


echoed far a 


- way, far a - 


way. 


\ cheerful homes so dear, We will 


sing sweet and clear, Till the 


welkin shall resound with our 


glee. 


f * : .s 


Sa 
9 .9 


S 


:n .PI 


S I-S .8 


f .r :r :n |f is .f 


"t :- [ 


* si,si : 


3| .S, 


S| :si .s. 


d 


:d .d 


|d id .d 


S| .S( IS| IS 


1 |S| IS| ,S| 


d *i :- I 



84 



STEP. 



REST, WEARY PILGRIM. 
KEY B(?. S. S. C., or T. T. B., or S. C. B. 



From DONIZETTI. 



p 






y 




, m !- 




PI IPl 


re 


"~" 


PI : 


d : |d :r m : d : 


PI I [n in 


U :- 




S| :s. 


fe, 





s, :- 


li : |la, :la s, : s, : 


d :- r :r 


( 1. Rest, 




wea - ry 


Pil 


- 


grim ! 


from toil re - pos - ing, 


Night's dark-'ning 


2. Rest, 




wea - ry 


Pil 


- 


grim) 


till morn ing's break - ing/ 


And birds a - 


d, :~ 




d; :d 


d, :- 


d, :- 


f, :- |f, :f, d, :- m, : 


s, : |se, :se. 










ores. 


m :- 


|f : 


r 


; 


PI :r 


d : |d : r : r :PI 


d : |d : 


d :- 




r : 


t, 


; |d :t, 


d :- |d : t, :- |t, :t. 


l, :- Hi : 


shad 




ows 


round 


thee are 


clos - ing; Drear is the 


path - way 


round 




thee 


blithe 


songs are 


wak ing; Hark! thro' the 


for - est 


l, :- 




*l 


S| 


\ 


s, :s, 


PI, :- 


PI, : s, : |si :se. 


l, :- Hi : 










J 


f PI .- 


PI 


:f 


1* * - 


r : 




PI : re :m 


s : |f :m r : PI :r d : |d : 


( d :~ 


d 


:r 


t, :- 


it, : 




d :- d :d 


m : r :de r :l| |d :t, d : s, : 


9 frown - 


ing be- 


fore 


thee ! 




No stars on 


high to guide and watch o'er thee ! 


chill 


winds are 


blow - 


ing! 




Here, there is 


friend - ship and kind wel -come glow - ing ! 


l, : 


1| 


:r. 


s, :- 


s, : 




S| I fe, !S| 


ta,: l :s, f, : s, :f, PI, : n, i 

s 


p 








pp 


d :- 


d 


:r 


m : 


d : 




d : d :r 


n : : d : : : | : 


! L :- Hi 


:l. 


si : is, : 


la,: la, :la, 


s, : :- m,: : - : : 


1 Rest, 


wea - ry 


Pil - 


grim ! 




Rest, wea - ry 


Pil - - grim! 


^ :- 


f, 


:f. 


d, :- 


PI, i 




f, :- f, :f, 


d, : : d, : : : : 



Pitching Tunes. In the third step the pupil was 

taught to piti-n tin- key tone of a tune by singing down the 
Standard l^-Vale. stepwise, to the tone required. A shorter way 
may now l>e taught. In pitching key G the pupil need not run 
do\vn to G stepwise, but will fall upon it at once from C 1 . In 
pitching key F he will take C 1 as 9, and lull to the key-tone, 
thus. C 1 B m d. Key E may be pitched by falling to m, thus. 
C 1 - d' B m md. Key A is pitched by falling to 1. thus, C 1 d 1 
I W. Key D, thus, C' d r 1 r'd'. The key may be pitched a 
little-step higher (sharper), or a little-step lower (flatter), than 
any tont- of the Standard Scale. The tones thus required are 
named "C sharp," "D sharp," "E flat," "D flat," etc., and the 



( sign J is used for "sharp," and b f>r "1 

; relation to the tone below it, and after which, for convenience, 
it is named, but its relation is to the tone above it. It is to the 
tcne above it the sai.-e that t is to d, or fe to s. In order to 
strike it correctly, sing the tone above, and th< n smoothly de- 
scend a little-step to it. A flat Uars no relation to the tono 
above t, and after which it is named. Its relation is to the tono 
below it, to which it is the same as f to n, or ta to 1. To pitch 
it correctly, in the cases of Gb, Ah and Dfe, we should sing the 
tone below, and then rise to it a little-step. In the key H>r take 
C' as s, and sing s f fd. In Key Eb take O 1 as 1, thus, C' -1 1 d 1 . 



See Manual for Teachers School Serict, page 30, for plan for pitching keys. 



FOURTH STEP. 



THE MILLER. 



t 


fS. KEY G. ZOLLNEB. 




d ,,S| :mj .fj S| M l| :si ,d PI .,r :d .r ro ,,f :m .d 


. 


I I O d d ,,S| ipij ,f| Si . L Jsi ,d 


l.To 

2. We've 


wan - der is the mil - lers's joy, To w,in - der is the mil - ler'sjov, To 
learnt it from the flow - ing stream, We've learnt it from the flow - ing stream, The 


<3. We 


see this al - so iu the wheels, We see this al - so in the wheels, The 


J4.Oh ! 


wan - d'ring ev - er is my joy, Oh ! wan - d'ring ev - er is my joy, Oh ! 





: : : : .PI 


I 


* i 


\t 


,a 


m 


:r 


d : ,S| 


r .r :n ,r ,de,r 


t__ ,_ 
.r .S| .S| 


d :t, 


d I ,S| 


t| ot| >t| t| 


s, .s, :s, .s, 


wan 


..... 


der. The 


mil - lers all do 


love to roam, To 


flow 


- ing 


stream. It 


neith -er rests by 


day nor night. Its 


bus 


- y 


wheels, Which 


do not turn a - 


lone by day, But 


wan 


der 


ing. Fare - 


well my par - ents, 


friends and home, Let 


S 


:f 


n : .s 


f .s :f .s 


f .s :f .s 


S| IS) 


d : .s. 


S| ,S| !S| ,S| 


S| ,S| !S| ,S| 


r . 


r :m ,r ,de,r 


t ,r :si .S| il| ,t| :d .r 


n ,,r Id .PI 


( t, .1 


b| :t| ,t| 


PI .S| :s, ,s. 


li .t, :d .r 


m .,r :d ,d 


\ leave their vil - lage, 


house arid home, To 


leave their vil - lage, 


house and home, To 


/ course it fol - lows 


with de - light, Its 


conrsi- it fol - lows 


with de - light, The 


] keep 3 


t up all 


night so gay, But 


keep it up all 


night so gay, The 


/me un - to the 


wide world roam, Let 


me un - to the 


wide world roam, And 


( f .s :f .s 


f ,s :f ,S| 


1, .t, :d .r 


PI ,,r :d .d 


8, .! 


5, :s, .s, 


s, .s, :s, .s, 


lj ,t| Id .r n ,,r !d d 


S 


It| s Jtj s :t| d I- 


t| 


. j. . 4. ._ _ 

S| t| .S| L| .S| o| 


, wan 


- der, wan - - der, wan ..... der. 


flow 


- iug, flow - - ing, flow - - ing stream. 


bus 


- y, bus - - y, bus - - y wheels. 


wan 


- der, wan - - der, wan ..... der. 


r 


Is r Is r !f n J- 


Sj 


*S| S| lS| S| ls\ d| 


Q33. KEY C. Round in four parts. * T - F - s 


Us .fe is 

\ | Soh, fe, soh, 


s .fe Is jm .re :PI m .re :n 

soh, fe, soh, j me, re, me, 1 me re, me. 


(Id 1 a :s .PI 

1 1 Now be - ware, and 


d 1 J :s .n 

sing with care, And 


d .d ,d :m .s 

keep ev - ery voice in 


d 1 : 

tune. 



I 



FOURTH STEP. 



MURMURING BROOKLET. 



MAETO. 


SEWARD. 


R SCHUMANN. 


J334. KEY B!?. Repeat pp D. C. ft F.t. 


BI :d :t| 


;l, :r :d 


ti :1, :t| |d z- :m 


s, :d :t, |1| :r 


:d 


t, :1 


:t, 


|d :- :- 


t-ni- :- 


f -. 

i 


Murm'ring 


brook - let 


gent - ly flow - ing, 


Wind - ing free 


the 


tit-Ids 


a-moncr. 


Loo 




n,:- :- 


If, :~ i~ 




n ( :- :- |f| ;- 








n, :- :- 


> :d :t. 


1 f r 'r\ 
L\ .1 U 


Loo 






Loo 










Sweet and 


pure as 


s,:- :- 


1 1, : : 


s,:- :- I-:- :- 


8 * * 11 * 


^ 


B,:- 






; ;- 






Loo 






Loo 










Loo 




d,:- :- 


|f, :- :- 


s,:- :- |d,:- :- 


d,:- :- If,:- 


:- 


s,:- 





d, :- :- 


8 >di i | f , 



Repeat pp. D S. f B>. 



-:- :r |d:-:- 


n:- :- [f :- :- 

Loo 


-:- :r |d :- :- 


d s,:d :t. 


lijr :d 

gay its 


f *i f t 

ii i, i 


|d :- in 

til - ing 

m,:- :- 


Glad and 
Loo 


work ful - 


t,:l, :t, |d :- :m 


s, :d :t, I :r :d 


t,:l, :t. 


d :- :- 

song. 


bub - bling fountain. 

S* 


Sing - ing soft its 

R n 


rip - pling 
S 


do 


1 


c. 









Loo 




U S| . . 
Loo 


1 




* * 


si IB if 


m :r :d 


d:- :- If, :- :- 


s,:s :f 


m :r :d 




f, :- :- 





f.E>. 



s,:d :t, |1, :r :d 


t :i : 


t, d :- : d .s, 

>r sun. "l'i 
- PI,!- : d .S| 


d in 11 


s In Id 


t. i . i 
i .d .1 s, 


:1 it 


d In II 


s In Id 


Car - ing not for 

m,:- :- f, :- :- 

Loo 


cloud ( 


roll - ing 

d In II 


, rusli - ing. 

s In Id 


on - ward push - ing, 

t Id 11, | s, .1, it 


Ceas - ing 

d In 11 


not when 1 

s in :d ( 


d In II s In Id 


t Id 11, s, 


:l, :t, 


d In II 


s :n id \ 


Loo 


s,:- :- 


- - :- : d .s. 


roll - ing, 

din 11 


rush - ing, 

s In Id 


on - ward pm 

t Id II, s. 


h - ing, 


Ceas - ing 

dim 11 


not when f 

s In id 


d,:- :- f, :- :- 

t| Id Il| 8, !- IS; 


s,:- :- 
d:m : 


- |d, :- : d .s, 
1 s m id 


t| Id !l, |s, il It, 


d In II B 


In Id 


t, Id 11, 


8,1- IS \ 


once be - gun ; 'T i:-? 

t, id :1, Is, : i> 
t| :d ill s, :- iS| 


whirl -ic 

d:n :l 


g, twirl - ing, 

I s in Id 


wind - ing, 

t,:d :l, 


turn - ing, 
S, 11, It, 


Rest - ing nol 

d In II s 


till 

, , j 

.PI .a 


work is 

t, Id :l 


(lllIIC. 

|s,I- Is 


d:n :] 


. s in id 


t, Id II, 


8| Il| It) 


d In II s 


In Id 


t, id :l, 


Is,:- it 


ouce be - gnn; 'Tis 
t. Id Il| S, I- IS, 


whirl -in 

d:n : 


g, twirl - ing, 

L s In Id 


wind - ing, turn - ing, 

t id ill S| :l, iti 


Rest - ing not 

d In II s 


till 

in Id 


work is 

t, Id 11, 


done. 

s,:- is ' 


s ;d> :t |l :r' :d" t 


:l :t 


d' I In' 

flow - ing, 
n 


s :* :t 1 :r' :d> 


t I] 


It |d' 

a - mo 
in 


"g; 


Mur - m'riug brook * - 

PI : : f :- 

Loo 


let ge 


nt - ly 




Wind - ing free the 

m * If * i * 


fields 








Loo 






d ; : ii : _ s 

\JL | JL D 

Loo 


"-" ~ 


I I 


s : : 1 : : 

Loo . 


s : : | 


- : s 


d ; : |f, : : s. 






d I- I- 


d : : f, : : 


s, :- :- jd : :- 



FOURTH STEP. 



87 



Bt?.i 

t m :_ :_ jf :_ _ 

Loo . 


__ r j d ~ 


PI : : |f : : 

Loo 


i :r |d : :s, 

'Tis 


r s, :d :t. Hi :r :d 


t, :l, :t, |d : :n 


s, :d :t, |1| :r :d 


ti :l| it, |d : in, , 


Sweet and pure as 

s d : : I: : 

Loo 


bub - bling fount - ain, 

s, : : |d : : 


Sing - ing soft its 

d : : |-:- : 

Loo 


rip - plin song-. 'Tis 

s, : |d : :d 

'Tis 


s .d, : : |f, : : 


S, :- :f, | m, :r, :d, 


d, :- i- |f, :- :- 


s, : :f, |n, ir, id, 



, r In If |n Ir Id 


t, II, It, |d I Is, 


r In If jn Ir Id 


d Il| It, [d I Id 


1 whirl - ing, twirl - ing, 

< s, I :s, |s, I In, 
y t, Id Ir |d I Id 


wind - ing, turn - ing, 

f, I If, |n, I In, 
r I Ir |d I Id 


Rest - iug not till 

s, I Is, js, I In, 

4- A v I/! 'A 

L | U. r | u. u 


work K done: 

f, I If, |n, I : i 
r I Ir |d I 1 


f whirl - ing. twirl - iug, 

s, I Is, |d, I Id, 
t. Id Ir [d Ir Ire 


wind - ing, turn - ing 
S| I IS, |d, I Id| 

n If Ife s I It, 


Rest - iug not till 

s, I Is, |d, I Id, 
d I I |d I I- 


work is done: 

s, I Is, |d, I I 

J 1 . 


flow for - ev - - er, 

1 


1 
I 

l 
1 


mur - m'ring brook - let, 

t | 
| 

| 
[ 

i 
t 


with thy 

n, I I |n, I I 

d I I Is, I I 

with thy 

d, : i |d| i : 


song. 
Pl| I I | I I 

S| I I | I I 

song. 

d* i 
1 j 



OH, WIPE AWAY THAT TEAR. 



23S. KEY C. M. 108. 


: 


S* 
~~~ 


'8 


1 :t :d' 


s : : 


m : :s 


s : :f |f : :m 


f : - 


- : :f 


ni .'i :s |1 :t :d' 


:n 


rn : 


:n 


re : :re 


m : : 


d : :ro 


n : :r 


r : :de 


r : 


: :r 


m : :PI |re : :re 


l.Oh, 


wipe 


a - 


way that 


tear, 1 


v.-o. The 


pearl - y 


drop I 


see 


Let 


hope thy bo - som 


2. Yes, 


when 


a - 


way from 


thee, lov>e. Sweet 


hope shall 


be n iv 


star; 


We 


do not part for 


3. At 
4. I'll 


close- 
watch 


of 
the 


part - ing 
set - ting 


day, love, When 
star, love, And 


yon br'ght st-nr is 
think 1 1< ok on 


set 
thee; 


Still 
And 


meet me while a - 
thus, tho' stm - d'red 


:s 


s :-- 


' 8 


fe : :fo 


s : : 


S q 
- a 


s : : 


s : :3 


s : - 


: :s 


s : :s |fe : :fe 


:d 


d s 


:d 


d :- :d 


d :-: |d :- :d 


S| : :S( 




s, : - 


-:-: Sl 


d :-:d |d : :d 


Is : : |d' : 


- -d 1 


n 1 : :PI' |f 


:m' :re' 


m i : __ : _ id' ; :d! 


r 1 :do' 


r 1 : : m 1 


d 1 : : 1 : 


m : : 


n : 


:n 


s : :s |1 


~7s~ :fe 


s : : in : : n 


f :m 


If :- :s 


m : :~ |- - s 


cheer, love, 
aye, love, 
way, love, 
fai", love, 


Let 
We 
Still 
And 


hope thy DO - som 
do not part for 
meet me while n - 
thus, tho' sun - d'red 


cheer, love, As 
aye, love, I'll 
way, love, 'Mid 
far, love, How 


von bright star we 
wel - come thee a - 
scenes we'll ne'er for- 
near our hearts may 


see. 
far. 
get. 
be. 


8 J ! 


|s : 


:s 


d 1 : :d" |d' 


: : d' 


d 1 : : ]s : :s 


s : :s 


s : :s 


s : . j : 


a : : 


id : 


- :d 


d' ;~ ;d' Id 


:- :d' 


d 1 :- ; ] 


d ; :s 


M a 

Ml * D 


s : :s d : : 1 : 



88 



T. F. 


s. 




S3O. KEY 


Ay. 


/ 8 ' 


Ife, 


:s, 


[ m ' 


Ire, 


:n, 


) I. Out 
[2. On 


in 
mos - 


the 

sy 


d 


id 


Id 


d 


id 


Id 


8, 


Ife, 


:s, 


PI, 


Ire, 


in. 


Swift 
Sun - 


flee 
beams 


the 
and 


d 


id 


Id 


d 


Id 


Id 


r s 


Ife 


Is 


tp] 


Ire 


IPI 


Birds 
Un - 


fin 

der 


the 
the 


8 d' 


Id 1 


Id 1 


8 ,d 


Id 


Id 


s 


Ife 


Is 


PI 


Ire 


In 


There 

Spend 


puss 
we 


our 
the 


d 


id 


Id 



FOURTH STEP. 
OUT IN THE SHADY BOWERS. 



t| .1| .I, ,S6| !1| 


r 


Ide 


Ir 


f, S\ if, .f, if, 


f, 


IPI, 


:f, 


shad-y greenwood bowers, 


Balm - 


y 


the 


banks where blossoms creep, 


From 


ev 


ery 


d .d Id .d Id 


t, 


:lc 

fl 


:t, 

Q 




8| 
8, 


S| 

:l, 


s, 
:t, 


f,' -f, :fi .f, :fi 


f, 


:f, 


:fi 


happy summer hours 


On 


wings 


a 


flow'rs their revels keep, 


And 


songs 


re 


d .d Id .d Id 


t, 


Id 


Ir 


f, .f, :f, .f, :f. 


8, 


Is, 


Is, 


s .d 1 Id' .s 11 


f 


Ir 


11 


PI .PI IPI .PI If 


r 


Ir 


11 


air with sweetest song. 


Soft - 


iy 


the 


leaf-y for - est bough 


Where 


zeph 


yrs 


d 1 .s Is .d 1 Id 1 


t 


It 


It 


d .d Id ,d If 


S 


Is 


Is 


s .d 1 Id' .s 11 


f 


Ir 


Is 


PI .PI In .PI if 


r 


:t, 


It, 


hours, a hap - py throng, 
hours as swift they go, 


Day 
While 


af 
joys 


ter 
a 


d 1 .s Is .d 1 Id 1 


t 


Is 


If 


d .d Id ,d If 


8 


Is 


IS, 



T. F. SEWABD. 

f .n In .re :PI 

li .s. Is, .fe, IS) 

air with fragrant flowers, 
side the fresh buds peep, 

d .d Id .d Id 

d, ,d| Id, ,d| Id, 

FINE. 



d 





. 



PI, 


I 



^"* 


way. 






sound. 






d 









d 


I 



~"~ 


1 .8 


Is 


.n Is 


f .PI 


IPI 


.d In 


brooklet 


flows 


a - long, 


whisp.-r 


soft 


and low, 


d 1 .d 1 


Id 1 


.d 1 Id' 


d .d 


Id 


.d Id 


f.Ai?.: 




/ss D.C. 


d s, 


I 



~~~ 


d s, 


In, 


:f, 


day. 






bound. 






"t, 


Id 


Ir 


da * * -_- 
Dl 



SINGING CHEERILY. 



X2ii~. KEY BJ2. 

n .d Is, ,fe, .s, 
s, .PI, Jpij.rCj.pii 

1. Singing cheeri - ly 
2. Ob ! how pleasantly 

d .d Id ,d.d 


1, .f If 

f. a, n, 

come we now, 
time glides on, 

d .d Id 

f, .f, ;n 


Words a 

f .t, It, ,d ,r 

S, .8, IS, ,8, ,f, 
Tra la la la la, 
Tr.i la l.i la la, 

t, .r If ,n .r 

8, ,S| IS, ,S| .S, 


nd Music by W. F. SHEBWIH. 

n .d Ir ,S| \ 
n, .8, if, f, 

gai - ly twin - ing, 
briug-ing pleas - ure, ( 

d .d Jt, ,t| 

d, .PI, IS, .8) 






FOURTH STEP. 8! 


FINE. 


PI .d IS| ,f6| ,S| 


I, .f If 


f .t It| ,d .r ,PI 


d :- . 


S| ,pi| Ipi|,re|.pi| 

Wreaths of mel -o-dy 
When in harmony 


f, .1. :l. 

for each brow, 
sings each one, 


Tra la la la la la 
Tra la la la la la 


m, :- 

la. 
la. 


d .d Id,d .d 


d .d Id 


t| .r If ,n .r ,t| 


d :- . 


d| ,d| Id|,d| ,d| 


f, .fj If, 


S | fS | S j S | fS | S | 


d, :- . 


F.t. 


, *f .r Ir ,m ,f ,). 

( fe .t, .t, It, ,d .r ,f 

Eyes that sparkle with a 
All life's trials are a - 


S(\\ * (\\ a 
vl .U. ,S 

PI P1 I PI PI 

pure de - light, So 
while for - got, Its 


t .1 Is ,fe .s 
s .f Im ,re .ri 

bright-ly gleam-ing, 
troubled dream ing, 


1 .S I PI ,f .S 

f .PI Id ,r .n 

On us beam -ing, 
I - - die scheming, 


If a 'i c c o 


S .S I? .,S 


s .s Is .s 


So *o o 
O D .9 


r .S| ,Sj IS| ,S| ,S| ,S| 


d .d Id .,d 


S| ,S| IS) ,S| 


d .d Id .d 


f. B!?. ^ D. c. 


f .r Ir ,PI .f ,1 


o r]l (]' S 
o .U. U. ., 


t ,1 .s ,f I PI .r 


d s, If 


r ,t| It| ,d .r ,f 


PI .PI I PI ,,P1 


r ,f ,m ,r Id ,t| 


d s. Is, 


Bring with beauty in their 
Care and wea-ri-uess can 


glance to night, A 
harm us not, If 


cheery welcome to our 
we can slug a mer - ry 


song. So 
glee. Then 


SO * O O O Q 
O .O .O .O tO 


S .S IS ,,S 


s ,s .s ,s Is .f 


n t, It| 


S| iS| S| jS| .S| jS| 


d .d Id .,d 


S, ,S, .S, ,S, IS) .S, 


d S| IS, 



KEY Bt>. 



HOW SWEET TO GO STRAYING. 



T. F. SEWABD. 



<i, 


d :-.t, :d 
m, :-.r, : m, 


m :r :d 

S| :f| : Pi| 


1, :-.se,:l, 
f, :-.f, :f, 


d :t, :1, 

In 
1 ! S| t I| 


s, : : 
n, : : 


d :r :n 


r : : 

s, : : 


- !- :s| 


S| : :S| 


'l.How 
,2 To 
N .3.No 
/4.How 


sweet to go 
pluck the sweet 
gardner stands 
sweet to go 


straying, How 
dai-sies From 
nigh you To 
straying, How 


sweet to go 
warm shelter'd 
watch and de- 
sweet to go 


maying O'er 
places, In 
ny you The 
maying O'er 


hill - - 
grove 
flow'rs 
hill - - 


top and 
or by 
that you 
top and 


grove; 
brook ; 
see; 
grove ; 


To - 
And 
For 
To 


(; 


d :-.d :d 
d, :-.d,:d, 


d :d :d 
d, :d, :d, 


d :-.d :d 


d :d :d 


d :- :- 
d, :- :- 


d :t, :d 


t, :- :- 
s, : : 


I ;l :J ( 


m, :r, ;d t 



r :-.de:r 


f :m :r 


d :-.t, :d 


r :d :1, 


s, : : 


t, :d :r 


d :-- : 


S| :-.s, :S| 


3| S| * 7 


HI :-.r| : w\ 


f, :f, :f, 


ni, : : 


A / 


HI : : 


ninge the green 
vio - let or 


meadow, To 
may-flow'r, And 


rest in the 
ma - ny a 


shadow With 
gay flow'r From 


those 
each 


that we 
cos - y 


love, 
nook. 


rich is earth's 


1 )o-som In 


bud and in 


blossom For 


you 


and for 


rue. 


range the green 


meadow, To 


rest in the 


shadow With. 


those 


tli at we 


love. 


f li> 

l| . .1C) . t> 


r :d :t, 


d :-.d :d 


1, :1, =t, 


d : : 


r :d :t, 


d :- : 


s, :-.s, :s, 


S| * S) S) 


d, :-.d, :d, 


f, :f, :f, 


s, : : 


s, : :s, 


d, :- :- 



90 



FOURTH STEP. 



T. F. SEWABD. 
J33O. KEY Bt>. 



SWEET EVENING HOUR. 



Arr. from KULLAK, by THEO. P. SEWABD. 



1 ) 

i-a 



: : .s, si :i, .d s, :- .m 


O sweet ev'u -ing hour, O 


: : : : .m, m, :f, j, m, :- .s, 


si :- si : si : s, : s, : s, :- 


Sweet ev'n ... ing hour, Sweet ev'n - 


d, : d, : d, : d, :- d, : d, : 


r .t| :d J, 


t| *8| *S| 


s, :l, .d 


S| :- .n 


r ,t| is, J| 


calm and qui - ft 


ev'n . - ing, How 


gen - - tie thy 


power; 1. From 


care each heart re - 


f| .8) JP1| .f| 


r, :f, .f, 


H| Ifj J| 


n, :- .s. 


S| ,S| . S| ,S| 


si : 


s, :- 


s, :- 


8| :- .d 


r .r :m .ni 


ing 


hour, 


Sweet 


liour; 2. From 


care each heart re - 


d, :- 


d, :- 


d, :- 


d, :- .d 


t, .t, :d .d 


t| S| ,S| 


f :n .d 


t, :d 


8, .8, :S, JB, 


l, :s, .81 


S| !B| ,S| 


S| . S| ,S| 


s, is. 


fi .fi ifi ^i 


fi :fi .si 


liev iug, The 


birds to their 


nests with 


cheorful songs re - 


tir - - - iug, All 


:liev - - ing, The 


stars, one by 


one, in 


heav'ns blue vault ap 


pear - - ing, The 


r :t, .t 


t| :d .n 


f :m .d 


t| tt 't ,t 


d :t, .t, 


1 S| !8| ,S| 


S| IS| ,S| 


s, :BI 


8| ,S| !S| ,S| 


s, :, .8, 


f In .d 


t, :d 


r j* :r .r 


r :n j 


r In J 


S| S| ,S| 


S| !si 


s, .a, :fe, .fe. 


S| *8| 


fe, :fei 


na ture's glad 


voio - es 


come with sound in - 


spir - - ing, 


Come till 


light zeph-yrs 


play where 


ros i'S tire in - 


twin - - ing, 


Fra > grance 


t| *d .n 


f IPl 


r j- :d :d 


t, :d .t, 


d :d 


S| lS\ .S| 


s, :d 


t) .tl (I) til 


S| IS| 


l, 4 


r :d 


t, :l, 


s, :- .s. 


s, :1| .d 


S| I- .m 


all is 


hushed to 


rest. O 


sweet ev'n - ing 


hour, O 


9| !8| 


f. :f. 


f* f 
; - I| 


HI !f| ,T\ 


H| I- rR 


t, 5n 


r :d 


t| I 


si : 


s, :- 


fling ing 


ev ery - 


where. 


Sweet 


ev'n * 


g| :s v 


S| IS| 


S| " 


d, :- 


d, :- 



FOURTH STEP. 



91 



r .t, :d J, 

calm and qui - et 



ttl 
d 

hour, 

d 

hour, 

d, 



s. 

hour, 

d, 




8| .8, 


s. 


ing, How 


gen' - 


:f, .f, 


n, 


: 


s. 




Sweet 


i 


d, 


11, .d 


8, 


ing 


hour; 


Ife, 


s, 


Ire 


n 


ing 


hour; 


Id, 


d, 



tie 



.d 


s. 


:- .n 


r 


a. .t, 


thy 


power, 


o 


sweet 


ev'n - ing 


TI 


n, 


S- .s. 


f. 


f. f| 




8, 


:- .d 


t| 


:d a- 




hour, 


o 


sweet 


ev'n - ing 




d, 


:- .d, 


s. 


IS, ,S| 



.n 
o 



s. 

Sweet 



r 

sweet 
l 



:l. .t, 

ev'n - ing 



s. 

hour. 

n, 
d 

hour. 

d, 



ELIZA M. SHERMAN. 
KEY F. 



IN THE VINEYARD, 



B. C. UNSKLD, by per. 



n Is |f In 


n Ir 


Hi :r 


d Id 


|t, Id 


n Ir 


r I 


d Id |d Id 


1, 11, 


U, il, 


s. Is, 


s. Is, 


d Id 


It, :- 


1. Long, O Mas - ter, 


in thy 


vine - yard 


Thro' the 


dust and 


heat of 


day 


2. Tan - gled vines and 


fad - ed 


flow - ers, 


Hid - den 


lie a 


mong my 


sheaves; 


3. Gath-ered I the 


love - ly 


flow - ers 


With their 


dew - y 


fra - grance 


sweet, 


4. Purge thou, then, the 


sheaves so 


worth - less, 


That I 


lay at 


thy dear 


feet, 


s Ita 11 Is 


f If 


|f If 


n In 


r In 


fe Ife 


S I 


d Id ]d Id 


f, If, 


If, If, 


s, Is, 


s. Is, 


r, Ir, 


Is, :- 


& 








Ritard 




FINE 


*J* 

n Is |f In 


n Ir 


U, Ir 


d Id 


Id It, 


1. It, 


d I- 


d Id |d Ita, 


1, 11, 


|1, Ha, 


s, Is, 


Ife, if, 


fi Is, 


S| I 


I have toiled, and 


with my 


bur - den 


Come I 


now thro' 


shad - ows 


gray. 


Look'st thou sor - row - 


ful. O 


Mas - ter? 


Are there 


noth - ing 


there but 


leaves. 


Hop - ing that a - - 


mid their 


beau - ty 


Thou might'st 


find some 


grains of 


wheat. 


So they yield thee 


at the 


har - vest 


On - ly 


fin - est 


of the 


wheat? 


D.S. Glad to rest when 


even - ing 


com - eth, 


And the 


hours are 


cool and 


sweet. 


s Ita |1 Is 


f If 


|f If 


n In 


r Ir 


r If 


n I 


d Id |d Id 


f, If, 


If, If. 


s. Is, 


1. Is. 


E, IS, 


d, :- 


.._,_ ^ 


:=- 


_.__ 








^ ^ D.S. 


r _ | s : 


t 11 


IQ *T 
r 


f If 


n II 


1 Ife 


S If || 


Toil - - ing 


in thy 


vine - yard 


All day 


long with 


wea - ry 


feet, 


t t |t, : 


r Id 


|t, It, 


r Ir 


d Id 


d Id | 


t, Ir 


s Is : s Is 


s Is 


S*o 
to 


s Is 


s If 


fe II 


s : 


Toil - ing toil - ing, 


toil - ing, 


toil - ing, 


All day 


long with 


wea ry i 


eet, 


S| IS, J3, IS, 


Si I Si 


S| ISi 


t, It, | 


d If 


r Ir | 


S| :t, 1 



92 



FOURTH STEP. 



Beating Time. It was recommended in the first step 
(see uote, page 11) iiot to allow pupils to in-ai time uutil they 
have gained a sense of time. If the teacher wishes, he may now 
teach beating time according to the following diagrams. The 
beati.ig should be doue by one bund (palm downwards), chiefly 
by the motion of the wrist, and with but little motion of the 
arm. The hand should pass swiftly and decidedly from one 
point of the beating to the next, and it should be held steadily 
at each point as long as the pulse lasts. The direction of the 



motion is from the thinner to thicker end of each line. Tlr 
thicker end shows the -'point of rest" lor each pulse. 

NOTR. It is better to beat the second pulse of throe pinse, measure 
to the right, than (a toiue do) towards the lett, becaune it thus coire- 
Kponds with the medium beat of the four-pulse measure, and the secoi.d 
puke of throe-pulse nit-usurp in like u medium pulse. It is comii. only treated 
( both rhythmically and harmonically ) as u continuation of the /rat pulse. 
Similar reasons* show a propriety iu the mode of beating a six-puh-e meas- 
ure; but when this measure moves very quickly, it is beaten like a two 
pulse measure, giving a beat ou each accented pulse. 



TWOPULSE 
MEASURE. 



UP: 



THREE-PULSE 
MEASUKK. 



UP: 



FOUR-PULSE 
MEASURE. 
UP: 



SIX-PULSE 
MEASURE. 



DOWN 




The Silent Quarter-pulse is indicated, like the other silences, by a vacant space among the pulse divisions. It is named 
sa on the accented, and se on the unaccented part of a pulse. 



. 11. 


KEYS C, G. 


TAA 


TAI 


TAA 


t* 


fe 


TAA 


TAI 


1 


.1 


:l 


.1 


,1 


1 


.1 


S 


,8 


:s 


.PI 


,1 


S 


.8 


ni 


.r 


:d 


.r 


N 


f 


1 



TAA 

:l 
:s 
:r 



,SC fe 



,1 

,8 



TAA fie fe TAA 



,1 :l 

,s Is 
,d :r 



,1 

.s 



TAI 

a 

.t 

.r 



:d 



-A*. KEY A. 



D.C. 



.d 


d 


.s, 


:si 


.d 


d 


.1. 


:l, 


. ,f 


n . 


,d :r 


HI 


m. 


.ni| 


:mi 


.nil 


1, 


.f. 


:fi 


li 


S| 


,nii :f| 


I.We 


shout 


with 


joy 


this 


bap - 


i>y 


day, 


Hur- 


rah ! 


hur rah ! 


\ With 


song 


wo 


drive 


dull 


care 


a 


v ay. 


Hur- 


rah ! 


hur-rah ! 


'2. He re 


Free - 


doin's 


star 


is 


ris - 


ing 


high, 


Hnr- 


rah ! 


hur-rah ! 


\ It 


shines 


in 


s]>lcn 


- dor 


in 


the 


sky. 


Hur- 


pih! 


hur-rah ! 


3. Here 


sci - 


euce 


fair. 


and 


learn -ing 


bright, 


Hur- 


rnh! 


hur-rah ! 


Have 


shed 


a 


pure 


and 


bril - 


limit 


light, 


Hur- 


rah! 


hur-rah ! 


.d 


d 


.d 


:d 


.d 


d 


.d 


:d 


. ,d 


d . 


,d :t, 


.d, 


di 


di 


:d, 


,d| 


f, 


fi 


'f 


fi 


S| . 


,8| :s, 



hur- 
hur- 
hur- 
hur- 
hnr- 
hur- 



m, 

rah! | 
rah ! f 
rah ! [ 
rah ! f 
rah I J 
rah ! f 

d 



.pi' 

We 

And 
And 

.d 
d, 



love the land that 

Free - doms voice will 

know] - edge, truth and 

r .,d Jt| j 



d 


.,r 


IPI 


.d 


t, 


m. 


,f. 


:s. 


.n. 


TI 


gave 


us 


birth, 


The 


des 


ex- 


ev 


- more 


In 


tri 


lib 


er 


-tv, 


Our 


wa 


d 


.,d 


:d 


.d 


r 


di 


.,d. 


:d| 


d, 


8| 



:r 



est land of 
umphring from 
watch - words ev - er 



.,8) : 



m, 

all 

shore 

more 

d 
d, 



the earth; 
to shore; 
shall be- 

.,d :d 



FOURTH STEP. 



93 



CHOEUS. 


.d 


d ,S; iS| ,d 


d J, :l, . ,f 


PI . ,d :r . ,t| 


d t- , 


MI 


pii ,pi| :pi| ,ni| 


1, .f. :f. . ,1, 


S| . ,pi,:f, . ,ri 


pi) 


Then 


let us shout for 


joy, hur - rah ! Hur- 


rah ! hur-rah ! hur- 


rah! 


.d 


d .d !d .d 


d .d Id . ,d 


d . ,d :t| . ,r 


d :- 


.d, 


d| .d| :d| ,d| 


f\ fi fi fi 


si ,S| :si . ,S| 


d, :- 



Thirds of a pulse are indicated by commas turned to the right, thus,: . t || The first third of a pulse is named TAA, the 
second third TAI, the third third TEE; and the silences and continuations are named in the same manner as before. 

S43. KEYS C, G. 

TAA TAI TEE TAA 

1 ,1 ( 1 :l 
s ,1 <t :d' 
d 4 r 4 n :r 



TAA TAI TEE 


TAA 


TAA 


TAA 


TAA TAI TEE 


TAA 


1 ,1 ,1 


:l 


1 


:l 


1 ,1 <1 


:1 


d 1 <t ,1 


Is 


S 


:d' 


t ,d' t r 


:d" 


r 4 m 4 f 


:PI 


PI 


:d 


s, 4 1, 4 t| 


:d 



. KEYS A, F. 

TAA TAI TEE TAA 



1 ,1 

d fy 
PI 4 r 



d :s 



TAA-AI TEE TAA 



1 r 
s i r 
* r 



:r 



TAA-AI TEE TAA - AI TEE 



d r 

r e - 



.- \ 



:f ,- 



TAA TAI TEE TAA 



f 4 m 



:d 
:d 



S45. KEY G, D. 



TAA TAI 


TAA 


TAA TAI TEE 


TAA 


TA 


1 .1 


:l 


1 ,1 .1 


:l 


1 


d .t, 


:d 


t, d ,r 


:d 


d 


s .f 


:n 


ft / 

i 4 s t i 


:m 


s 



TAA TAI TEE 



,n :f t n 
,s If ,s 



1 


J 


:l 


d 


t, 


:d 


PI 


.r 


:d 



II 



46. KEY C. Round 


m three parts. 




* T. 


d 1 Id 1 |d' 


:t .d 1 t r ] d 1 


*o Q * rn 
o II 


PI :m |pi :r 


Eing, ring, ring, 


beautiful chimes 


are ring - ing, 


Sing, sing, sing, che( 


m Jn | PI :d s 

birds are sing - ing, Per - 


:s |s :s 4 s 

fumes sweet flowers 


SO */ll 1 <1I *Q 
o tU | U. *3 

a - broad are fling - ing. 


S47' KEY. Round f 

s ,s <s rd 1 t d ( 

Why should we sigh for 


or two parts. 
r 1 4 m' 4 r' Id 1 

wealth or for pow'r, 


* 

.s 1 m 1 .d 1 :s .PI if 4 s ,f Iw 


Since ' life is fleet - ing | as an hour? 



ly 



FOURTH STEP. 



MERRILY SINGS THE LARK. 



S4. KEY Bt?. 


i 


si .,s, is, .,s, d is, .,s. 


d Ir Jn :n 4 n 4 n 


r* . *3 V. 
1 r 4 i <r 




HI (Pi, n| .,Pi| ni| Ipi| .,Pi| 


8| IS, IS, IS, 4 S, 4 S| 


1 n 

1 * 1 *8| <S| ,S, 


\ 


1. Merry sings the lark at the 


break of day, Tra la la 


K Tra la la 


/ 


2. Rouse ye.ronse ye now at the 
3. Health and strength are found in the 


morn - ing call, Tra la la 
morn - ing air, Tra la la 


la, Tra la la 
la, Tra la la 


( 


d ,,d Id ,,d d id .,d 


d It, d Id 4 d,d 


t| | It, 4 t| 4 t| 


\ 


d| .,d| :d ..d d Id| .,d 


PI, Is, d I 


IS, S, ( 8| |S| I 


Tra* la la la 


S' 


d : : 


S, .,8, IS, .,8, d IS, 


d :r n In 4 n 4 n 




PI, : : 


n, .,n|Im, M n,| n, :m ( 


8, IS, Is, :S, 4 8, 4 S, 




la; 


Hear her as she sings her 


mer - ry lay, Tra la la 


\ 


la; 


House, ye i - die dream - ers, 


one and all, Tra la la 


) 


la; 


Bean - ty, youth and life in 


na - lure fair, Tra la la 


( 


d : 1 : 


d ,,d Id .,d|d Id 


d it, d :d 4 d 4 d 




Tra 'la 1a la, 


d, .,d, Id, .,d d, Id, 


n, Is, |d : 


/ 


r : Ir 4 r 4 r 




d : 


r 4 r 4 r Ir 4 - 4 r |f :- 




S| S | S ] S | 


n, : : 


S| 4 8, 4 8, IS, - 4 S, S, I 


\ 


la, Tra la la 


la, 


Tra la la la la la. 


, 


t| I It, 4 t| 4 t, 


d i : 


t, It, |t| 4 t| 4 t. It, 








Tra la la la la la, 


I 


:S| 4 8, 4 8||8, I 


Id| 4 d, 4 d d, : 


S| IS, ISuSuS, IS, 


Tra la la la, Tra la la la, 


D.3. 




d 4 u 4 d Id 4 - 4 d n I 


s 4 s 4 s In |f 4 f 4 f Ir 


d 4 d 4 d It, 4 t, 4 t,|d : 




n, 4 ni 4 n|Jn, 4 - 4 n,|s, 


S| 4 8, 4 8| IS, |1| 4 1, 4 1| Il| 


8, 4 S| 4 S,IS, 4 S, 4 8,|S, I 




Tra la la la la la, 


Tra la la la, Tra la la la, 


L'ra la la la la la la. 


i 


d Id d 4 d<dld 


d 4 d 4 d In r 4 r 4 r If 


n 4 n 4 n Ir 4 r t r n : 


( 


Tra la la la \i la, 


Tra la la la, Tra la la la, 


Tra la la la la la la. 


l 


d Id |d 4 d 4 did 


d.i ,i . ,1 f f f ,p 
l4 a, 4 Q, .QI |i| 4 i, 4 i, .1, 


S, 4 8, 4 8, IS, 4 8, 4 S, d, I 


S4O. KEY D. Round for four parts. * 


(id Jn s Is i l 4 t d 1 Is 

( | Too much haste mak - eth waste: Make 


.s r 1 .t Is J J 


haste slow - ly > 


Mn 4 s t f .n .d t| .s : s :- r : 11 

( 1 Then you will go more sure - ly: That's so! 



FOURTH STEP. 95 

Syncopation is the anticipation of accent. It requires an accent to be struck before its regularly recurring time, changing 
a weak: pulse or u \\tak part of a pulse into a strong one, and the immediately/oWoiotw/ strong pulse or part of a pulse into a weak 
one. It must be boldly struck, and the strong accent on the immediately following pulse must be omitted. 



ill :l - 

I I TAA TAA -AA 


TAA 


l:l :l 

TAA TAA -AA IAA 


TAA TAA -AA TAA 


- :l '1 :l H 

-AA TAA 1 TAA TAA H 


SSI. 




m r :- 

j | TAA TAI - AA 


.1 

TAI 


l J :- J 

TAA TAI - AA TAI 


1 .1 :l .1 

TAA TAI TAA TAI 


1 . :l II 

TAA SAI TAA SA1 U 


SSS. KEY C. Round in two parts. T. F. S. 


(Is :s 


:s 


1 :1 | :1 


t :t :t 


d 1 :d' |d' : j 


( 1 Come now, 


oh, 


come now, Or 


we shall be 


late, I fear. S 


* 

(In : n 

( 1 Yes, we're 


. 



f : |f : 

com - ing 


s : s : 

right a 


d : | : n 

long. || 


J2S3. KEY C 


. Round in two parts. 


(Id :- 7 

t 1 No, no, 


. 
~~~ 


PI : f : 

uo, no, 


r : n : 

no, no, 


f : |n : > 

no, ' no ! ) 


* > 


:T 


- & .- n: 


- :? - :T' 


:T icE" : || 


} Yes, 


yes, 


yes, | yes, 


yes, yes, 


yes, 1 yes 1 


JS^t. KEY C 


. Round in two Darts. 


j d' .d" :- 

( Come now, 


O 


1 .1 :- j 

come now, Or 


f .n :r jf 

we shall be too 


n : ) 

late; ) 


* > 

Urn .m :n 

( i No, no, no, 




f S :T .m 

no, no, no, And 


r 3 :- .t 

you, too, must 


wait. 


SSS. KEY F 

jlrn :n ,,f 

1 Call John the 


. Round in three parts. 
s :d PI :r .,d 

boat - man, cali him a - 


r :- .d n :s .1 s :n .d I 

gain, For loud roars the tem - pest and ) 


Ms, :n .,r 

( 1 fast falls the 


d : * .d :d .d 

rain. John is a - 


d :- .d d :t, Ji s, :- .t, ) 

sleep, he sleeps ver - y sound, His ) 


jld *d .d 

( 1 oars are at 


d :d .d n :s .,f 

rest, and his boat is a - 


PI :'s .a ,,r PI .n : .d > 

ground, Loud roars the riv-er, BO ^ 


us & :- j 

1 1 rap-id and 


t : .s,s|s .s :m ,f 

deej>: ButtheJ louder vou call 


s : .PI s ,s :s, ,,s, d 

John, the sounder he will sleep. | 



96 



FOURTH STEP. 



HEAR THE WARBLING NOTES. 



sso. 


KEY G. M. 100. 


T. S". SEMTABD. 


Id M s, 


H| I- 


.s, Id .r m id Id 


.t, 


1| .U It, o&4 \ 


Id ,,s, 


n f I- 


.8, Id j n 


id Id 


.t. 


li :- .d it, j, ) 


l.Hear the 


war 


bling notes of spring - time, From 


the 


gay and cheer - ful ( 


2. Hear the 


ech 


oes as they're riug - ing Far 


and 


neat o'er hiU and / 


J 


n .n In I n 


.n In I 




f ;f a ;s s \ 




La la la la 


la la, 




La la la la la 


J 


d .d Id : d 


.d Id i 




f f f 

I, J, tl. 


J ' 












La la la 




si S- 


Id . 


,8| 


n, I- .s. Id j 


n Id 


Id 


.,t| 


i, a n 


.s If jr 


throng, 
dale 


Ev - ery 

Let us 


voice is filled with 
join them with our 


glad - ness, 
sing - ing, 


Let 
Send 


-ing 


join their hap-py, hap - py 
out our songs on ev - ery 


s, :- 


:d . 


,S| 


n, I- .s, Id .r 


n id 


! 




1| it, 


it, .t, 


















La la 


la la 


n 5 


: 




n ,n In I 




n ,n in 


I 




f . ir 


. Ir S 


la, 






La la la 




la la la, 






La la 


la la 


d :d 


:d 




d .d Id I 




d .d Id 


: 




fi , IS, 


IS, .81 


la la 


la, 
























f 


: 


S t,l 


s j Ir Is 


.,1 


s .n in 


is 


.,1 


8 .t I- 


a is s 


song. 


La 


la 


la la la la 


la 


la la la, 


Hear 


the 


echoes 


so gai - ly 


gale. 




















d : 


Id . 


,d 


t, *t, It, It 


.,t| 


d .d id 


id 


d 


t, J I- 


.f In j 


la. 


La 


la 


la la la la 


la 


la la la, 


Hear 


the 


echoes 


KO gai - ly 


n : 


In . 


n 


r ,s Is Ir 


,r 


n .s Is 


In 


.,n 


8 .t I- 


a is s ^ 


d : 


Id . 


d 


Si .81 is* Is. 


tSi 


d .d id 


Id 


..d 




S *1 t t 


/ f .n In 


is .,1 


s ,r Ir Is .,1 


s .n In Is .,1 


s .t ,1 Is .s ,f In j 


d Id' |j 


I rTd Id 


id M d 


t, ,t. It, It) ,,t| 


d .d Id Id .,d 


t| .r ,d it| .t|,r Id .t. 


d Id 


( riug - ing, 


La la 


la la la In la 


.1 l.i la la la 


la la la la la la la la 


la la. 


/ f .n In 


In .,n 


r .s Is ir ,,r 


PI .s is In .,PI 


8 .8 , 


3 9 to (O to ! 


n in 


I d Id 


id ,,d 


8, S| tS, 8| )S| 


d .d Id Id .,d 


S| .S|, 


S[tS| t S|,S|S| S | 


d id 



KEY E. M. 80. 



COME, LET US ALL BE MERRY. 



i.d,r 


n .n In .s 


s S : J,n 


f .8 11 .t 


d 1 .s I ,n,f 


U,r 


n .n In .s 


s .f I .r .PI 


f .8 11 .t 


d 1 .s i .d 


1. Com. 
<2. A- 
,3. So 

U,r 


let us all be 
way with all the 
when the clouds are 

n ,n In 


mer-ry, For 
tra - ces Of 
low'ring, Then 

s .f : j ,n 


grieving is a 
sad - ness, gloom and 
let us laugh the 

f .8 11 .t 


fol- ly; All 
sor- row; If 
stronger, For 

d 1 j : j 


.d .r 


PI .PI I PI .S 


s .f I .r ,m 


f .8 il ,t 


d' .s : .d 



Arranged, and new words. 
8 .8 IS J 

n .n I PI S 

care and trou-ble 
we must wear long 
thus all care o'e 

d 1 .d' tf 4 1 
d .d id .d 



FOUETH STEP. 



s .ro : .d 1 
PI .d t .n 

bur - y And 
fa - ces, Let's 
pow-'ring, We'll 

d' .s : .s 
d .d : .d 


t ,1 .s ,f :m,r .d,t| 


c 

r .d : 

t, .d : 

jol- ly. 
inor-row. 
long-er. 

f .m : 
si .d : 


HORTTS 

.d,r 

With a 


m .m :n j,m 

ha ha ha, And a 

d .d :d . 


f .f :'f .f,n 

ho ho ho, 'Tis a 


s,f ,pi,r :d,t|.l|,s, 


while we live be 
keep them for to - 
sure - ly last the 

s .s ,1 Is .r 


ha ha ha, 

8 tS S . 

d .d :d 


ho ho ho, 

s .s :s . 
r .r :r 


r .m ,f :s .S! 



r,r 


.r 


:r 


.8 


n . 


jolly 


old 


world 


you 


know. 


ti 


t, 


It| 


.t, 


d . 


ha 


ha 


ha 


ha 


ho. 


S 


.8 


IB 


cS 


S . 


S| 


.8) 


:si 


,S| 


d . 



All 
IS 

:d 



.,1 



be 



s .PI 
PI ,d 

hap- py, 

d 1 .s :s 
d .d :d 



all 



.,1 



be 



s .PI :r .r 

m .d :t| ,t| 

mer - ry, Let's be 

d 1 .s :s .s 

d .d :si ,S| 



s 


.f 


in 


,f 


ti 


.t, 


:d 


M r 


jol 


- !y 


as 


we 


S 


.8 


IB 


.,8 


S| 


.8, 


:d 


.,d 



go; 

d 1 
d 



All 



.,1 

be 

-,d' 



s .PI 
PI .d 

hap-py, 

d 1 .s 
d .d 



all 



.,1 


8 


.PI 


:f 


.1 


s 


.f 


:m 


.r 


d 


.,f 


PI 


.d 


:d 


.r 


n 


JC 


:d 


.t, 


d 


be 


mer 


-ry, 


Broth-ers 


all, 


both 


friend 


and 


foe. 


.,d' 


d' 


.8 


:l 


.f 


S 


.1 


IB 


.f 


PI 


-,fi 


d 


.d 


:fi 


fi 


Pl| 


.f. 


:s. 


.8, 


d 



Expression. The following table shows the names of 
the different degrees of power; the abbreviations and marks by 
which they are known, and their definitions. The teacher will 
explain these topics, as may be required, at convenient points in 
his course of lessons. See Manual for Teachers School Series for 
method of presenting the subject. 



NAME. 

PIANISSIMO - 
PIANO - - - 
MEZZO - - 
FOETE - - 
FORTISSIMO - 
CBKSCENDO - 
DIMINUENDO - 
SWELL - - . 
SFOBTZANDO - 
LEGATO - - 
STACCATO - 



PROUNOUNCKD. 
Pe-ah-nissimo - 
Pe-aA-no - - - 
Met-zo - - - - 
.Four-tay - - - 
Four-/issimo - - 
Cre-.s/ien-do - - 
Dim in-oo-en-do- 

Sfort-zcrn-do - - 
Tj&y-gah-to - - 
Stock-fcaft-to - 



MARKEI . MEANING. 

pp . - . . . Very Soft. 

p Soft. 

m ----- Medium. 

f - ...... Loud. 

.// - - - - Very Loud. 

cres. or< - - - Increase. 
dim. or > - - Diminish. 

- - - Increase and dimiiish. 
sf. or/z. or =- - Explosive. 

Smooth, Connected. 

t f f- - Short, Detached. 



MOVEMENT WORDS. 

- - - K-daj-o ... j - . . Very slow. 

- - Au-da/m-tay -.)...... Slow. 

... An-dahn-iee-no ... Moderately slow. 

- - - Mo-day-ra/i-to - - Moderately, medium. 

----- Moderately fust. 

Al-ta/-gro ....... - . Fast. 

----- Gradually slower. 

- At-chel-e-ra/m-do ... Gradually faster. 
Ah taim-ipo --------In Time. 

s, indicates that the tone is to be prolonged 



LABGO - 
ADAGIO - 
LAEGHETTO 
ANDANTE - 
ANDANTINO - - 
MODERATO - - 
ALLEGEETTO 
ALLEGED - - 

KlTAEDANDO 

ACCELERANDO - 
A TEMPO - - 

The Hold 

at option of the leader. 

Da Capo, or D. C., means repeat from the beginning. 
Dal Segno, or D. S., means repeat from the ' 
Fine indicates the place to end after a D. C. or D. S- 



FOURTH STEP. 



NUTTING SONG. 



.-. KEY C. 



Is 


d' ; id' |t : :r' 


d 1 : il 


s I in 


Is 


n I In 


r i If 


n I If 


n : id 


1. Who 
12. The 
3. Bur- 


has no sun - shine 
yel - low moon is 
rah! the nuts are 


in his heart May 
clear and bright, The 
drop - ping ripe In 


IS 


S I IS 


s I Is 


s I Id' |d' I Id 1 


Is 


d I Id 


8 e 
.0 


d I id 


d I Id 



f i- :f |1 : :s 
r i ir |f : if 



call 

si 

all 



the au 



tunm 



lent up - land 
the for - est 



HI f * *f t *f 
U \i v | u u 

s ; is |si : is. 



B. 0. UNSKLXX 

s : : In i in. 



n : J |d : l 



ber, But 
ing, The 
ere, We'll 



light - 
bow 



A\ | a a 

I* ^^ | S . 8 

d ; ;~ |d ;-:d 



s : :d' |t :- :r' 
PI : :m |r : :f 

boys with puls - es 
mead - ow grass 
climb as high 



s : :s 
d : :d 



s 



IS 

as 
IS 



Is : :s 



d 1 : :l |s : :d' 

PI : :f | PI : :m 

leap - ing wild, Should 

cri-;p and white, The 

squir - rels go, We'll 

s : :d' |d' :- :s 

d : :d Id : :d 



t :- :t 



v> I * ,. 

r .r |r . .r 

love the brown Oc- 

frosts nre kt-eu and 

shake them down in 

s I Is |fe II Id' 

r I Ir |r I ir 



s |s .s 

r _ . |*> - . 

,r ti 

to ber. A - 

ing. 



bit 
show 



A 

When 



t : : |t : :t 
s : : is : is 



t I Id 1 Jr" I It 

r I In |f I If 

long the glade, and 

shin - ing moon, a 

heads are gray, and 

r' I Id' |t I Ir' 

S I IS |S| I IS, 



d 1 I 


:1 


s I 


Is 


n I 


if 


n I 


In 


on 
frost 
eyes 


the hill, 
y sky, 
are dim, 


The 
A 
We'll 


d 1 I- 


Id' 


d 1 I- 


Id 1 


d I 


id |d :- 


Id 



t I Id' |r' I It 

r I In |f I If 

rud - dy oaks are 

trust - y morn to 

call the au - tunm 

I Id 1 |t I Ir' 



I IS, 



d 1 I I In 



n 



n I I |s I Is 

glow 

fol 

so 



ing, And 

low, To 

ber, But 



d' I I |d' I Id' 
d I I |d I id 



r 1 I Ir 1 |d ] I Id 1 

f I If | PI I In 

mer - ry winds are 

drive the with - ered 

now, with life in 

t I It |1 I II 

S I IS 11 I II 



t I It Jl I II 

r I ir |d I Id 

out by night, Thro' 

leaves a - bout, And 

ev - ery limb, We 

se I Ise |1 I II 

n I In |f I If 



s I Id' |t I Ir' 

n I In |r I If 

all the for - ests 

heap them in the 

love the brown Oc 

d 1 I Id 1 |s I Is 

s I Is s, I Is, 



d' I I |d' I- 
n I I I n I- 



blow 

hoi 

to 



ing. 
low. 
ber. 



8 I I |S I- 

d ;_ : _ M i- 



$ CHORUS. 

f. If* 

. 1 1 . . 

Ho ! ho ! 



f : s |f : : 



d' I I I I Id' 



ho ! Thti 

1 :-:_)_:- :i 
f i : I : if 



t I Id' |r' I It 

r I In |f I If 

gold - en au - tunm 

s I Is ;s I Is 

S I IS 1 8) I IS ( 



d 1 I Ir' |n' I I 

n I If |s I I 

bright with glee, 

8 I IS S I I 

d I id |d I I 



OURTH STEP. 



d 1 : 


_ |i ;_ ;_ 


d' 


f : 


:- If :- :- 


f 


Ho! 


ho! 


ho! 


l : 


_ |fli : i 


1 


f :- 


:- |f ;- :- 


f 



99 

D.S. 



* 

~~ 


Id 1 


t I 


Id' 


r 1 I 


it 


d' : 


; 


If 


V. 


In 


f l-r- 


Ir 


n I 




The 


hap - - 


py 


days 


foi- 


ine. 




~~"~ 


II 


a 


IS 


S I- 


ls 


S I 





If 


s : 


Is 


s, : 


Is, 


d I 



2&&. KEY AJ7. 

d Id Id jn In In 
d Id Id |d Id Id 

D. C. 1. Cheerily, cheeri - ly 

2. Heavi - ly hung is our 

3. Help us, dear Lord, lest we 

n In In Is Is Is 
d Id Id |d Id Id 



CHRISTMAS CAROL. 



s I Is |n I In 

d I Id |d I Id 

sing we all, On 

Christ - mas tree, 'Tis 

self - ish be, All 

n I In |s I Is 

d I Id Id I Id 



r I Ir |S| i IS) 
tj I It| |s, I Is, 

Christ - mas eve the 

bur - dened well for 
hearts are not as 

S I IS |S I IS 
S, I IS, |S, I IS, 



T. F. SEWABD. 

n I In |d I IS) 

S, I IS) ]S, I IS, 

shad - ows fall, On 

you and me; The 

glad as we; Re - 

s : Is |n I In 

d I- Id |d I Id 



d : Id 


|n I In 


s I- 


- Is 


n 


I In 


r I Ir 


|s, I- Is 


n I 


I 


r* 
^^ \ 


s, I Id 


|d I Id 


d I Id |d 


I- id 


t, I It 


|s, I Is, 


d I 


- I- |t, I- I- ) 


Christ - mas 


morn the 


sun 


- light breaks, And 


all the 


world to 


glad 


. - . 


ness / 


hem - lock 


branch - es 


piled 


with snow, In 


na - tive 


woods bend 


not 




so 


mem - ber 


then thy 


poor 


to - night, And 


flood their dark - ness 


with 


thy ( 


n I In 


S I IS 


n I- 


In 


s 


I Is 


S I IS 




S' 'a 
B 


S I 


- I- [f I- I- 


d I Id 


d I- Id 


d I- id |d 


I Id 


s, I Is, 


|S, I IS! 


s, I- 


- I- |s, I- I- / 






FINE. 
















d i :- 




I 


S| 


1, I- Id 


d 


I Is, 


1, I Id 




d I Is, 


1, Id Id 


d I- Id 


do 
t - 


- 


I 


n. 


f, :- 


:fi 


n, 


I In, 


f, I If 




n, I In, 


f, If If, |s, I- Is, 


wakes. 






The 


leaves are 


dead, The 


birds are 


fled, The 


lit - tie brooks' tongues are 


low. 






God 


giv 


- eth 


all; 


The 


ra - vens 


call, He 


heareth them, 


so let 


light. 






The 


hun 


- gry 


feed, The 


wan - d'rer 


lead, The 


sor - row-ing 


souls, the 


n I I- 




I 


d 


d I- 11, |S, 


I Id 


d I- 11, 




|s, I Id 


d 11 


Hi 


s, I Id 


d, I I- 





t 


d, 


fi :- :fi Id, 


I- id, 


f, :- :fi 




Id, I- Id, 


f, If If, 


|n,: In, 




















^ D.C. 


ir I- In 


r 


_ 'a. 
tS, 


1, I- Id 


d I- Is, 


1, I- Id |d I- Is, 


1, 


I- Id |d I- Id 


nl- Ir |r S- I- 


1 fe,l- Ife, 


S| 
















fe,l- ife,|s, I- I- 


I- In, 




n,I In, 


i, .- .1, 


n,.- .n. 




i |s, I- Is, 


tied with 


cold; But 


bells may 


ring, and 


chil - dren sing, For 


safe is our dear 


Shep-herd's fold. 


^ us be - 


gin, Ke 


hears al - 


way when 


chil - dren pray, For 


he him -self a 


child hath been. 


I cap - tive 


free, And 


think, we 


pray, on 


this glad day, Of 


those who have no 


Christ-mas tree. 


( di- Id |t 


I- Id 


d I- 11, 


s, I- Id 


di- 11, |s, I- Id 


d 


I- 11, |s, I- Id 


d I- Id |t, I- I- 


' r,:- :r, 


S| 


I- Id, 


f,:- if, |d, ;- id, 


f. :- :f, 


d, I- id, 


f, 


I- If, In,!- In, 


r, I- Ii 


'i |si - I- 



too 



FOURTH STEP. 
COME UNTO ME. 



SOO. KEY A>. 


T. F. SEWABD. 


P 










/id I |d Id 


d :- - :- 


n I If If 


n :- 


- 


Id 


1, 


It, 


d if 


s, I- |1, 11 


s, I- - I- 


s, I- |1| 11. 


s, :- 


- 


is, 


f, 


Is, 


Is, 


/ Come un - to 


me, 


Come un - to 


me, 




all 


ye 




that 


/ n I |f If 


n I I- 


d I |d Id 


d I- 





id 


d 


ir 


d it, 


1 d, : |d, Id 


1 


di I- |d, Id, 


d, I- 





Ini 


f I- 


n, ir, 


/ n In d In 


r i\ ! 
r u. >i| 


s, Is, 




s, In 


Ir 


id 


1, 


i- |d :- 


\ S| IS, S, IS, 


s, I fe I 


S| is, 


: 


n. Is, 


Is, 


is, 


f, 


; 


re, I 


' 1 1 - bor and are 


heav - y 


la - den; 


Come 


un - 


to 


me 




ami 


/ d Id n Id 


t, I- 1, Id 


t, It, 


: 


d I- 


It, 


Id 


d 


;- |d :- 


d| *d, d, Id 


r, I- Ir, I- 


s, Is, 


: 


d, I- 


Ir, 


Ini 


f 


i- Ife, i- 


p 










d Id r It 


d ; - : 


: 


i 


8 IS 


f 


If 


n 


I- |d Id 


1 






Take my yoke up - 


on 




you nnd 


\ n, In, f, If 


n, I- I- 


i 
i 


t| it. 


IL 


Is, 


8, 


I- |s, Is, 


/ I \vill give yon 


rest. 
















) d Id |t, Ir 


d I- - I- 


n I- |d i- 


r I- 


Id 


Ir 


d 


I 


d Id 


f 




Take my 


yoke 


up 


- 


on 


you and 


' s, :S| 8| Is, 


d, I I 


d : 


nj I S| I 


- 11, 


It, 


d 


I 


HI In, 


P 










d : |i, ; s, ; is, 1, ; |l, :- 


t, I- |d I- 


f if 


n I 


r I- 


Ir 


learn of me; For I am 


meek and 


lo\v-ly 


of 


heart, 


And 


1, I- f, I- m,: |-ln, f, I- f, I- 


S, I 8, I 


s, Is, |s, I- 


S, I- 


Is, 


d I d :- d I I d Id |d Id 


r I d Id 


t, I- 


Id i- 


t, i- 


| It, 


learn of me; Take my yoke up- 


on you and 


learn 


of 


me; 


And 


f, s~ |i, : d : j : f, if, |f, if, 


f ( : |n ( In, 


r, I- 


Id, I- 


8, J- 


!-:s, 


P pp 


^ ^- 









n in |d : |s, : |si : s, : |s, i 


s, : |n In i 


n Id 


f In 


8 If 


n Ir 


s. Is, n, I n, I n, : r, Ini |f, Iri 


n, I s, is, s 


i in, |1, Is, 


ta,:l| 


|s, il, 


ye shall find rest un - to your 


souls, For my j 


oke 


is 


f as - y 


and my 


d Id |d :- d I jd : t. Id 


r it. 


d I d Id c 


I I 


d I- 


n If 


S ii 


d. Id, |d| I d, I n, : s, I 


8, I- 


d ; I d| Id, < 


I, i- Id, I- 


de,ir. 


|n, If, 



FOURTH STEP. 



10J 



d IPI 

s, is, 

burden 




r I 

si : 

is 


d : 
s, :- 
light. 


t 


d :- 

PI, IS, 


r I-.r 

si :-.s, 

un - to 


n : 

s, : 

me, 


: 


rlt.pp 
f * m 


/r :-.d 
f, I-.rn. 

un - to 


d : 

PI,: 

me. 


f| * s l 


Come 


Couie 


1 PI :s 


f :- 


m : 


: 


d : 


t, :-.t. 


d : 


: 


d : 


t, :-.d 


d : 


, s, :s, |s, : 


d, :- 



~~ *'~' 


d, :pi| 


s, :-.s. 


d :- 


; 


1, :d 


s, :-.d. 


d, : 



EVERY DAY HATH TOIL AND TROUBLE. 



SOI. KEY 

'pi In 

S| IS| 

.Ev - ery 
i.Pa - tient - 
5.Li - bor! 

d :d 
d :d 

m In 

S, IS| 

Meek - ly 1 
Bound, by ] 
And the e 

d :d 
d :d 

r :r 

s, Is, 

Fear not, s 
La - bor ! ^ 
Wait in 1 

S; IS, 
PI c . R 

s, :d 

God shall 
Count not 
And a 

d :n 
d| :d. 


At?. M. 120. 

f IB 

day hath 
ly en - 
wait ! though 

r * PI 
|d :d 

f :s 

s, is, 

iear thine 
inks that 
torm a - - 

r :m 
d :d 

n :d 

lirink not, 
ivait ! thy 
lope, the 

d :m 
d :d 

f IB 

it, :ta, 

fill thy 
lost the 
peace - ful 

r :de 


s if 


PI Ir 

d Is, 

troub - le, 
ev - er 
shad - ows 

Id It, 
|s, If, 

PI Ir 

d Is, 

bur - den, 
sev - er, 
low - 'ring, 

d It, 

s, :fj 
PI Id 


d Id 

s, Is, 

Ev - ery 1 

Let thy t 
Gath - er r 

d Id 

PI, In, 

d Id 

s, Is, 

And thy 
To hu - 
Fills the 

d Id 

PI, In, 

r In .f 


|r IPI 

teart hath 
pir - it 
ound thee 

It, Id 

r Im 

s, Is, 

oroth - er's 
man - i - - 
heart with 

|t, Id 

r. Id, 

PI Ir 

s, Ise, 

to thy 
wea - ry 
gloom - y 

d In 

d It, 

r IPI 
f, Sn, 

heart with 
but be - 
tvork is 

r Id 


BEETHOVEN 

PI I r : 


care; 
be 
here, 

d :- |t, : 


toil and 
dur - ing 
mid - night 

m :r 

S| iS, 

s :f 

s, :l, ,t. 


s, :- - : 
r I- d : 


f, I- PI, I 


own full 
can - not 
bove thee 

PI :r 

s, Is, 

r :PI .f 


share 


tv 


fear 


t, I- |d I 


s, I- d, I 


d Ir s, I 

1| ,S, lfC| |S| I 


S, IS, |S| IS, 

though the bur - den 
crown is read - y 
morn - ing dawn - eth, 

t, Id .r |d in 


s, Is, 

Heav - y 
When thy 
When the 

t, Id .r 


heart may prove; 
task is done; 
night is gone; 

PI Ir .d |t, I 


s, Is, 

s If 
l, :l. 

mouth with 
fleet - iug 
rest a 

r Ir 

f. if, 


d Id 

n Ir 
1. :li 

glad - ness, 
mo - ments, 
waits thee, 

S If 

f, :f. 


s. Is, 

d Id 

s. Is, 

And thy 
Life has 
When thy 

PI IPl 

s, Is, 


1, .r, | S, ~~~ 


r I- d ; 


f, :- m, : 


love 


aun 


done 


t, :- Id : 


s, :- Id, : 



102 



FOUBTH STEP. 



GRACE J. FBANCES. 
. KEY DP. 



THE SWEET VOICE. 



IB 



U. I 

/2. The 
3. That 



:d 



s :m :f |s :d< :d' 

d :d :r |m :n :m 

dreamed that afar I had 

cares of my life in a 

voice in my heart I will 

m :s :s |d' :s :ta 

d :d :d Id :d :d 



d' : 




~~ 


It :-:l 


f : 


j 


|f : :f 


wan 
mo 
cher 





dered, And 
ment Were 
ish, And 


1 :- 



~~ 


|d' : :d' 


fi :- 



~~ 


If. :-:f, 



s :r :m |f In :r 

i t| *d ( t| 't| it| 

stood on a des-ert a - 

lost in a thrill of de- 

whenl am sad and op- 

t :f :n |r :s :s 

s :BI is, s :si :s. 



HUBBBT P. MAIN, by per 

A>.t. 

n : : I: : n l, 
d : : I: :r, 

lone; 
light; 
pressed, 

s : : | : :d 

d : : I : :<if, 



A 

The 

Its 



|r : :l, d :- :d 



a, :d :r 


m :f 


:m 


m : 


: 


r : 


:l, 


s, is, :s. 


1 8| *8| 


:s, 


f. :- 


:- If, :- :fi 


voice o'er my 


spir - it 


came 


steal 


. 


ing; 


How 


desert transformed to 


a 


gar - 


. 


den, 


Where 


e - clio, per - 


haps, in 


my 


slum 


- 


ber 


Will 


d :d :t. 


d :r 


:d 


1, : 


; 


li ; 


:d 


pi,:ni :r. 


d, :t a 


:d. 


f 

j. 


:- If, :- 


: 



soft its mag-ic - al 

all was l<>ve-ly and 

calm my sor - row to 

d :- :d |r :r :r 

S| '. JS| S| !S| Is, 



f.Dl?. 



tone. 

bright. 

rest 



I: :n 
[ : :d 

Sweet 



a, 8| :_ :_ i_:_ :d 



r : : 


: :f 


m : : 




~~ 


s : : 


id 1 :m 


8 




~~ ^~~ 


voice, sweet 


voice, 


Dear lov - ing 


voice ! 


t| : :t| |t| : :r 


d : in 


n : : 


d :- :- 


:PI :d 


d :- : 


i i 


voice, sweet voice, sweet 


voice, sweet voice, 


Dear lov. - ing 


voice! 


s ; :s 


s : is 


s : :s 


8* 
t t 


n : : 


IB la 


n : : 


i i 


S 
i - ., 


: :BI 


d :- :- 





d : : 


:d :d 


d :- :- 


__ 



1 : : |l :t :d' 


n 1 : :d' 


s : : 


r :m :f 


n '. IT 


d : : 


d :- : |f :f :f 


m : :n 


d : : 


d :d :d 


t, : :t. 


d : : 


Where, where is the 


bliss it gave? 


Why is the vis - ion 


o'er? 


fj 1 *op *1 
| 1 C X 


s : IB 


n : : 


1 IB :1 


s : :f 


m : : 


f. :- :- If. :f. :f. 


d :- :d |d :- :- 


f :m :r s ; : IB\ 


d :- : 



I : :s 



Sweet 



r : : I: IB 

voice, Sweet 

t| Jtj |t| * 

sil - ver voice, 

a 'a !a 

O O | B ^^ 

u, :s, | s, :- : 



H ^~ |~~~ ^~ .S 
voice, That 

:d :d |d : :d 

sil - ver voice, That 

:n :n |n : :n 
:d :d [d : :d 



t : :l |s :r :f 

made my in - - most 

t| It| |t| I Ir 

made my in - - most 

r : :r [r ;s :s 



m 



s : : 



so nl re - joice. 

d :m :re |n : 

soul re - joice. 

s : :fe |s : 
d :- :d |d : 



FOURTH STEP. 



103 



1 S 


11 f *rll 

e ' ~ 1 A U *U 


m 1 


f : 


: |f :f :f 


m 


Oh! 


say, was it 


all 


d 1 : 


11 *<JP *1 

, i OG 1 


s 


f. :- 


: jf, :f, :f. 


d 



:d' 


S 



r :m 


:f 


n : 


:r 


d : : 


:n Id :- :- 


d :d 


:d 


A. o 


:ti 


d : : 


a 


dream, 


Gone to 


re - turn 


no 


more. 


IB 


n : : 


1 is 


:l j 


s : 


:f 


m : : 


id |d :- :- 


f m 


:r | 


si : 


:s, 


d : : 



. KEY B>. 



SABBATH EVENING. 



n, :f. 


:fe, 


si : 


:d 


d, :r. 


:re. 


PI, i 


:si 


I. Lin - 


ger 


still, 


o 


2. Sa - 


cred 


songs, 





s, :- id |d :- 


:m 



d * It, |t, ' 

f f if 

i, * .1, |i| . . 

bless - ed hours, 

do not cease; 



s, 



PI, :f, 


ife, 
:re, 

de - 
of 


sceud, 
praise 


:d 

ye 

and 


m I 

Sty! 

heaven 
hymns 


:r 

- ly 

of 


|d :- 

showers, 
peace, 


( d, :r. 


) Still 
(Sounds 


.,:- 


:d 


d : 


:d 


t, :- 


:t, 


1 1 * 

1 1 * 


d,:- 


:d, |d, :- 


:d, 


n, : 


:m, 


1 1 


F.t. 










, t,m :f 


:fe 
:re 


s : 
m : 

still, 
world, 


:m 


lie 


d 1 : 

m : 

sa 
still 


:t 
:r 

cred 
and 


t :- 

r ' 

Dove, 
sleep, 


( 8 ,d :r 


) Tar - 
j Bn - 


. :- 


IB 


S 



:s 


s : 


:s 


C * , 


1 

&iffl 


:d |d : 


:d 


s, 


:si js, : 


m st 


:fe 
:re 

from 
of 


S t""" 

m :- 

thine 
mine, 


:d' 
:n 

a - 
oh, 


d 1 : 
n : 

bode 
wake - 


:t 
:r 

a - 
ful 


t : 
r ; 

bove, 
keep, 


d :r 


Come 
Heart 


s i 


is 


S ! 


:s 


s : 


IB 


S I 


d : 


:d 


d : 


:d 


s, :- 


:s. 


S, I 



t, :l. 


:,, , f| : _ :1| 


] 
1. :- :- 


3. C. UNSELD. 

s, :-: 


fi : 


In, |r, I If, 


f. :- :- 


n, : : 


Slow - 


ly fade,, sweet 


light, 




Sweet 


your ech - oes 


are 




t, :- 
s, : 

d :t, 


It, |t| 1 It, 

Is, S, I Is, 

:1, |s, : :t. 


d : : 

r* 



FINE. 

d : : 


re,:- 


ire- IPI, : :f. 


i, : :- 


m, : 


Back - 


ward roll, O 


night ! 




Min 


gle with my 


pruyer 






:d d : :r 


t, :- :- 


d :-: 


fe,: 


:fe, |s, : :s. 





d, : : 



: r :de :r 



lie. It] |r ' In 

In this worth - less 

Far a - way from 

s : :s |f : :m 

s, I Is, |t, I Id 



fe I I 


s 


re : I 


m 


breast, . . 




me, 






s 


d I I 





D. C. 1st Terse. 



t II Is 


If i- :t, 


r I I 


d S|I I 


r Id It, 


r I Is, 


t, I- I- 


dg, I I 




me thy 


rest 






calls for 


thee! .... 




s I Is 


s I- If 


f I I- 


"t,:- i 


8, I IS, 


s, I Is, 


S| I I 


d S|I I 



104 



FOURTH STEP. 



HOPE WILL BANISH SORROW. 



GEORGE BENNETT. 


HUBERT MAIN, by per. 


SO-A. 


KEY Ajz. 








1 s, :s, 


S, Js, S| Jl, .t 


Id J- 1, Jl, 


t, :d 


r : |d : s, Js 


, d Jd 


PI, :pi| 


f, :f f, :f, 


_ . f f 

PI, . i| .i, 


f, jpi| 


fj '. Pl| J Pl| Ji 


i m i *8, 


\ I. Once a - gain we're doorn'd to 


part, Deem not 'tis for - 


ev - er; Love, if root - ed 


2. When I'm 


far a - way from 


thee, O'er the o - cean 


sail - ing, You will of - ten 


| 3. Faith nnd 


trust in heav'n we 


have, God is ev - er 


near - est; He cau still the 


d :d 


b, Jt t, Jd .r |d J- d Jd 


s, Js, 


t, : d : d :r |d :d 


d, :d, |] 


*| Jl'l S| JS| 


Hi :- f, :f, |PI :d, 


s, : d| : d :t 


i |1| *ni 


d :r |n : r :s t 


d Jt 1, J |S| J 


n :-.PI r :d f :r 


i r J 


1, :la. 


BI j- s, :s. 


|fe, Js, fe, J S| J 


S J .Si f, JP1| 1, IS 


i Is, J 


in tlie heart, Time nor 


tide can sev - er; 


'Tis the sad a - dieus that chill, 


muse of i 


ne. Tears and 


sighs pre - vail - ing; 


But ne'er think of me with fear, 


storm-y wave, Bear me 


safe - ly, dear - est; 


Then fare -well my na - tive shore. 


d :d |d :- t, :t, 


Hi Jr d J |t, J 


d :-.d t, :d d :d |t, :- 


f *f 1 A f *Y* IT* *i* r* * 


BI : 


d : .d S| !l, f, Jr 


li Is, :- 




Kail. 








t, :-.t, d 


Jrn PI Jr r J 


- d J-.d t, Jd 


d : r 


J s J~.d 


t, Jd r 


j d : 


S| J-.S| S| 


JS, 8, JS, S J 


p . X* . 

,| Pl| .-.8 I| .Pl| 


m,J |s 


s, . .S| 


f, Jpi| f. 


: |m, : 


Make the parting sadder still, 


Say "we'll meet lo- 


mor - row," Hope will banish sot 


row. 


Check at once the ris- ing tear, 


sing "we'll meet to- 


mor - row," Hope will banish sot 


row. 


Clasp me to 


thy heart once mor 


R, Sing -'we'll meet to- 


mor - row," Hope will banish sor 


row. 


r :-.f PI 


Jd d :t, |t, J 


d J-.d si Js, 


d J t, 


1 d J-.d |s, Is, t, 


j- |d : 


S| J-.S| S| 


JS, S| JS| ,S| I 


- d,:-.n,|r, Jd, 


1, J-- Sj 


_:fi pii:-.pi,|r, :d, s. 


:- Id, ; 






LANGDON. C. M. 






?^o.~>. 


KEY F. 






T. F. SEWAIID. 


s In .d 


n j- a s 


Jr ,f | PI J- .n 


PI Jd j 


n :fe 


s J 


. .8 


d :d .d 


d :- .d t, 


JtTj Id J- .d 


d :IT3 


;, |d :d 


t, :- 


- J .d 


1. Fa-ther! I 


long. I faint 


to see The 


place ot 


thine a - 


bode: 


I'd 


2. There all the heaven - ly hosU 


are seen. In 


shin - ing 


ranks they 


move, 


And 


3. Fa - ther ! I 


long, I faint 


, to see The 


place of 


thine a - 


bode; 


I'd 


PI :s .PI 


f J-.fr 


JS 8 I- J 


1 JPI 


m Ji- 


r J 


- : .m 


di 'd .d 


i/l J- ,f| 8, 


JS| (1 J- J| 


1. :l. 


ll. :r 


8, J 


- ; 4 


s :m .d 


|1 :- .r s 


Jd |f :- j- 


m Js^rjd :t. 


d J- 


: 


d :d 


d J- .t, d 


Jd |t J- .t, 


d :l, 


|S, JS| 


s, :- 


: 


leave thine 


earth - ly court 


s, and flee Up 


to thy 


seat, my 


God! 




drink im - 


mor - tul vig 


- or in, With 


won - der 


and with 


love. 




leave thine 


earth - ly court 


s, nnd be For - 


ev - er 


with my 


God. 




PI :s ,n 


f J- .8 S 


JS 8 J- .8 


S Jf 


m Jr 


PI J 


j 


d :d 


f :- S n 


JPI r :- .BI 


d :f t 


S| J8| 


d J 


: 



FOUKTH STEP. 



105 



H. H. HAYDKN. 
SOO. KEY C. 


EYENINQ ON 

M. 108. 


THE LAKE. 


M. L. BARTLETT, by per. 


4 .d 1 


t 11 


s Is S 


m ll 


s il .t d 1 Is 


|1 .s If .m 


(im 


s If 


m id 


d I- .t, 


d if m im 


f .m Ir .d 


l.Now 


bright - ly 


on the 


yield - ing 


wave, The moon's so 


"t rays are 


.The 


eve - ning bree - zes 


gent - ly 


blow, A sweet re 


fresh - ment 


J3.We 


gai - ly 


dip the 


gleam - ing 


oar, And on - wi 


ird now are 


V s 


S 11 


.t |d ll .la 


S If 


m :l .la s id 1 


d' is 


^:d 


d Id 


|d id 


d id 


|d Id d Id 


d it, .d 


m 




t 


r Is .d 1 


t 


il s 


Is .f 


m II 


s id' 


I d 


I |t| Id .m 


s 


If r 


i ' id 


d I- 


t d im 


i glanc 


iug; The 


spark 


- ling ^ 


m - ter 


seems to 


move, As 


/ bring 


ing, As 


on 


ward blithe - some - 


ly we 


go Our 


j dash 


ing, While 


faint 


and faint - er 


grows the 


shore On 


* 





5 IS 


S 


il .t d 


[' il .la 


S if 


m Is 


\B 


I ' 


i Im .d 


d 


;d |d id 


d id 


|d id 


, t .1 


Is .1 


b 11 


1 


. s 


is 


s .r 1 It , 


Is Is 


1 


Ir 


r I m .fe 


fe 


I s 


is 


f If 


f if 


' if 


with joy 'twere 


danc 


ing, And 


we are 


full of 


^ mer 


ry cho - - rus 


sing 


ing, Our 


wa - t'rv 


path - way 


i which 


the waves are 


plash 


ing, We 


bid each 


thought of 


! s .d 1 


It .d 1 i 


'" Id' 


d 1 


:- It 


it 


t ir 1 .d 1 |t It 


^ r 


Ir i 


ir 


r 


* .. _ Q 


is 


s is 


s is 


(s .m 1 


id' J i 


Is 


1 .t id' d 


1 ; r l 


m I 


Is 


n 


If 


n im 


f 


is m 


il 


se I 


f 


an 


swering glee, With 


hap 


- py hearts we 


sing, 


And 


> gleams 


with light, The 


hour 


is full of 


joy, 


All 


J sor - 


row flee, Care 


to 


the winds we 


fling, 


And 


* 


11 .d' ( 


1' Id 


d' 


id' |d ll 


f 


- it 


1 d 


Id 


id 


f 


im |1 


If 


m I 


__ * T* 


/ s .m'lm 1 .r 1 ]r' .d 1 


is ,se 1 .r 1 ir 1 .d 1 


|T is 


1 .t Id' ,r> 


m Ir 1 


d 1 I 


m O s Sse j m 


Id f Ife 


s Im 


f is .1 


s If 


m i- |- 


J far a - cross 


the wa - tt-rs 


free, Our 


mer - ry notes shall 


ring. 


nut - lire smiles 


on us to - 


night, No 


trou - ble shall an - - 


noy. 


far a - cross 


the wa - ters 


free, Our 


mer - ry notes shall 


nng. 


d' St |d- 


Id 1 d 1 Ir 


r' Id' 


d'.r' Id' |d' It 


d' I- |- 


d im |ft 


im f ir 


s id 


f .r Im .f |s Is 


d I- 1- 



106 



FOURTH STEP. 



MARY C. SZWARD. 



SLEEP, BELOVED. 



pp 

n 


V. KEYG. 






THEO. F. SEWABD. 
Inst. 

d : n . * : fe . . 
d I*. - r . I. " 

now; 
round, 

n I : 

d, : : 

r : : 

t, :- :- 

lie; 
sky; 

S I I 

S, I I 

s ~ ~T~ s 


Ire ,n If ,n 


s I 
d In 


If .n 


r Ide .r 


In .r 


d 

1. Fall 
2. Bios 

S 


I- Id 

- - - ing 

soms 

Ife .s ll .s 


.d Id 


t, :- 

length 
pet ... 

f In .f 


en 
als 

Is S 


shad 
fold 

n Is 


ows 
their 

.n II .s 


d 
n 


I- :d 

Ire ,n If .n 


d I- 

:_ 
8 I 

d In 


Id 

In 
.d is .d 


8, I- 

r I 

t, 11, .t, 


Is, 

: 

Ir 
:d .1, 


d 

Durk 
Clouds 

S 


I- Id 

and 

are 

Ife .s 11 .s 


still 
sleep 

n Is 


tbo 

.n Id .n 


wood 
in 

s Ife .s 


lands 
the 

ll .fe 


d 

PP 
r 


I- Id 

Id .t, 11, .8, 


d I- 

8, I- 


Id 

.d If .n 


r S 

r Id .t, 


Ir 


1| .8, 


If, .8, If, .8, 


8, I- 
sleep 
hushed 

n .s In 


Id 

on 
comes 

& 11 .8 


f e *f a *f 

I| .01 >I| .S| I| ,S| 


s, ,t. Id j In .r 


Birds 

Soft 

t, 


a - - 

Ir If 


leaf 
eve ... 

t, Ir 


y 

If 

Is, 

_ 
Ir je 


bough, 
sound, 

n .r In .f Is 


8| 
PI 


I- Is, 
Ire .n If .n 


d, I- 

: 
S I- 


== 


8, I 

_ __ = ^ 

d It, .d 


d I- I 

n I- Id 
s, I- Id 

sigh, Then 
nigh, Then 

s I In & 


d 

Huslu'd 
Bliss 

S 


I- Id 

the 
fill 

Ife .s II .s 


ta, I 

zepli 
dreams 

n Ide 


erV 
are 

Ir S 


BI :- 

taint --. 
hov - 

n Ir .n 


It, J, 


est 
'ring 

If Se 


d 

m 

n 


I- Id 


d In, 


-- ^ 

.8 If J 


8, I 

d it- 4 


Is, 
Ir .n 


d, .n, is .d Is, .HI 




Hit. pp 

d I S 

d .1, Is, .f, in. 


. 

Ire .n If A 



1 


d 

sleep 
sleep 

8 


I- Id 

be - - 
be - * 

Ife .8 Is 


1. :- 


.ta, II, 


8; I 

Inl - - - 
Inl - - - 

n ?r .n 


la - - 
If .8 


lov 
lov 

f .de Ir 


ed, 
ed. 

.de .r .f 


by. 
by. 

n .f In .r Id 


a, 


:- Ir, .n, 


f, 
j .n, .r, 


.n, If, 


s, : is, 


d, I- I- 



FOURTH STEP. 



107 



ELEMENTARY RHYTHMS. 

FOR PUPIL? -REPARING FOR THL FIRST ANu SECOiND GRADE CERTIFICATES. 

These Rhythms must be done at the rate indicated by the metronome murk. The pupil must laa or taatai one complete 
measure and any portion of a measure which is required, as an introduction to tue Exercise tue Exercise itself being taken up 
without pause or slackening of speed, at the right moment. The exercise must be taataid on one iouo. For amusement, it may l>o 
taataid in tune. 

The keys are fixed so as to bring the tones within the reach of all voices. The Rhythm may often be learned slower than 
marked, and when familiar the pupils will take pleasure in largely increasing the speed. J. C. 

They are to be taught by pattern. Three or four may be practiced at each lesson until the whole are learned. The pupil is 
expected to practice them at home until they are thoroughly familiar, so that any one taken by lot cau be correctly done. 

For the FIRST GRADE CERTIFICATE, Requirement 2 is, " Taatai once, and then laa on one tone in perfectly correct time, any of 
the rhythms (Nos. 1, 3, 4, 5, 7, 9 or 11 which the Examiner may select. [Two attempts allowed; a different test to be given fort^e 
second trial. ] ' 

For the SECOND GRADE CERTIFICATE, the College (see p. 3) will supply to the Examiner the test to be used. It will not contain 
any difficulties beyond those in "Elementary Rhythms." 



ii 
l ! 



1. KEY F. M. 100. TAATAI. Bugle Call. "Fall in.' 

S| .d Id I S| .d Id | s .m Is .m I d .d Id I s\ .d Id I s\ .did Is ,m Is .mid ,d Id 



2. KEY F. M. 100. 

n Id 



Is, ,m |d .d Isi .m Id Is, ,m |d .d Is, .m 



Bugle Call, "Close." 

I- PI 



3. KEY A. M. 100. . Bugle Call, "Fatigue." 

d Im ,S| d Im .S| Id .s, Im .s, |d.S|Im.s,|d Im .s,|d Im ,s. Id ,S| Im ,s, |d 



Bugle Call, "Guard." 



. KEY F. M. 100. 



jls.m Id .si'ld.mls, I s .m Id ,s, |d Is .m Id .s,|d .m Is, Is .m Id ,s, |d 

5. KEY A. M. 100. 

(Is, Id ,d Id ,s, |d .d Id .s. Id .s, Id .s, |d .d Id Is, I 

II 

II 
ll d ' :< 



G. KEY A. M. 144. 

m I |d I |m.d Im .d 



Bugle Call, "Advance." 



Bugle Call, "Extend." 

_ IN |d : [pi.dlm.d |s, I 



y. KEY E. M. 100. 

d :d ,r Im ,f |s : 



Is 



Bayly, " In happier hours. 

:f .m :f .s | m Id 



,r I m S is 



:f .m If .s Im : 2 



:d | 



108 

r* j 



8. KEY G. M. 100. 

d l- 



FOURTH STEP. 
-AATAI. 

:t id |r 



Hymn Tune, "Wainwright* 

:f .n :r .d |d :t, u 



:- .f :n 



O. KEY E. M. 100. 



:d 



d :: 



_ . Hymn Tune, "Simeon." 

j|s is .f |n ;- S In :r |d :- .d if :- .n |1 :- .s |t| id |r :- j 
l|n Ir .d. |f Inj Is II |s :- .s Is :- J |s .f In .f In Ir |d : 



Jl 



1O. KEY D. M. 100. 

n.f Ir .n |d Is 

d Id |d It, 

Is | Is 

r I |n I 



S YA. 

(The pupils to take each part nlternately). 



n S :r .n [d Is 
d :d |d : 



:s 



In I 



s S In S |s Id 1 

d Id |n Id 

f & II .t |d' In 

f Ir |n id 



J. R. THOMAS, "Picnic." 

1 .s :f .m |r :- 

t, :d |'BI : 

r :s |d : 

d :t, |d : 



Tafatcfc. Bugle (M, "Walk and Drive." Altered. 

n,m.m,m:pi .n Is .n :n Id'jd'.d'jd'rd 1 .d 1 



11. KEY C. M. 72. 

i|d,d.d,d :d .d In .d :d 

ils,s.s,s:s .n |d,d.d,d:m .s In .d :d Id :d In .d :d In :n 

(Is .n :n ld l ,d'.d l ,d l :d l |s,s.s,s:s |d,cl.d,d:m .s In .d Id 

Bugle Call, "Huy np or Litter down. 1 



S. KEY D. M. 72. 



TAAtefc. 



c|d .d ,d :d .d Id .s, :d ,s. In n ,n In .n I n .d in .d 
jjs * ,s Is .s Id 1 .s id' 3 Id .d ,d Id .d Id 



I 



13. KEY F. M. 100. 



tafaTAI. 



Bugle Otfl, : 'i>efaulters." 

d 



<:si .s, |d,S| .n Id ,s, .n Is .s ,s is .s, |d,S| .m :d ,s : .n Id || 



FOURTH STEP. 



109 



il 



l-i. KEY G. M. 100. TAA-efe. Bugle Catt, "Salute for the Guard.' 

d 'd .,d|S| :s, .,S|[d :d .,did : |d .d :m.d In.s In .d j s, is : .,S||s, 2 



r 



J. KEY C. M. 100. 

.,s d 1 Is .,s Is .,s I n Is 
d 1 Is .,s Is .,s I n Is 



Is 
I PI 



Bugle Catt, "Officers." 

d 1 Is .,s Is . 9 s Is I ) 
d Id .d Id .d Id I 



16. KEYF. M. 100. 

5s, .,S||d I |m 



Bugle Call, "Orders." 

IS| Id ,,S|In .,S||d ,,S|In .,S||d ,,S|In ,,S| |d In Is I 1 In.,d|si I- ,d |n 



II 



17". EY C. M. 100. 

d In .,f|s I- .s II It 



Id' 



Hymn Tune, "Truro. 

d 1 Is |f .m Ir .d f In |r I 



. K.* F. M. 100. 

IS| Id :d .,d |d .n Is .n Id 



Bugle Call, "General Salute." 

Id ,,d f d Is, .,d I n Id., mis IS|.,s, |S| lS|.,S||S| ) 



d Id ,,d|d.nls .n d Id ,,d|d IS| .,d n Id ,,n s Is, Id Id.,d|d 



1O. KEYF. M. 100. 



-AA-efe. 



Bugle Call, "Asembly." 

(Is I |- .,n Id .s. Id I |- ,,S| Id .s. Id .,8! Id ,s, |d ,,s, Id .S| ) 
In V- : ~ I s : ~ I- 'iN :d s i l d ' 1 : 



SO. KEY F. M 100. 

Id |t|.,dlr :s Is 



I Ife Is : 



Hymu Tune, "Serenity." 

d :-- 



Is I Id.,t||l, I-.t,Id.r|n I Ir Id I-- H 
I I II 



SI. KKY F. M luO. 

Id In . n In Ir 



r i 



n .,n In II 



d ,,d Id Ir In .s If 

s ,,s Is Id 1 |r In 



Hymn Tune, "Arlington." 

In In Ir 



Ir 



i 



110 

II s 



FOURTH STEP. 
5. KEY F. M. 100. Sarnelt, " Hark ! sweet echo - 

:- .n :f .1 is ,,n:d .d :d |1 :- .s :f .n |r ,,t, : 



(Is j 



. KEY F. M. 72. 

m .,f :r ,,ri :d .s. Id 



:s 



:d 



n .,f :r ,,n :d .8| II, 



t. KKY F. M. 72. 

n ,,f :f ,,s Is ,,m :n 



f.,m:f .,r|m 



II 
(I 



*>. KEY C. M. GO. 

s ,f .m ,f :s .1 is .n 1 :d' 



s ,f ,n ,f :s J 



s .PI' :d' 



SiO. KEY F. M. 100. 

:s.f In : :r.m|f : :n In :r :d |d : 



Modulator Voluntaries now include transition of one 
remove. Tuese should not be made too difficult by wide and 
Unexpected leaps on to the distingiiisiiiug tone; nor too easy by 
always approaching the distinguishing tone stepwise. While 
Ihe effects of transition are in process of being learnt, these ex- 
ercises may be sol-fa-ed, but the teacher cannot now !>. ,:onte>d 
with sol-fa-ing. Every exercise should also be sung to laa. 

Sight-laa-ing. The lan-volantanes are really sight-sing- 
ing exercises, if the teacher does not get into self-repeating 
kabits of pointing. See p. 17. But, at their best, they give no 
practice in reading time at sight. Therefore the absolute neces- 
lity of sight-laa-iug <"roni rew music frozi the book or the 
black-bo.ird. 
t 

Memorizing the three keys. The pupils should now 
know troin. memory, not only what is above any one note on the 
modulator ain\ what below it, but what is on its right and what 
on its left The one key no longer stands alone on the mind's 
modulator. It has an elder brother on the right and a younger 
on the left, and each of its tones bears consinship to the other 
two families, and may be called to enter them. Therefore, at 
all the later lessons of this step, exercises should be given in 
committing to memory this relationship, p. 67. The pupils 
must learn to say these relations, collectively and each one for 
himself, without the modulator. 

Memory Patterns. It is difficult to indicate divisions 
of time by the motions of the pointer on the modulator with 
sufficient nicety to guide the singers in following a voluntary, 



1 

:r 

It, 



MnzzlmjJn, "Toin Starboard." 

n ,,f :s ..m :l,s ,f ,m |r : 



d .r :n .s,f:n .r Id : 



"Home, sweet Home.' 

:- .d,d|n.,f:f .,s|s :n .s f.,n:f .r Id 



r 1 .,d' :t ,1 JB ,f I n 
t ,d',t:l .t ,1 Is 



J. II. THOMAS, "Picnic.* 



d :- 



n.r:d 



Hymn Tune, "Prestwich. 

d :- :- I : 



and it is important to exercise the memory of tune and rhythm. 
For these reasons our teachers give long ptUterns extending to 
two or more sections including some of the more delicate 
rhythms. These patterns are given laa-ing, but pointing on the 
modulator. The pupils imitate them, tcitfumt the teacher's point- 
ing, first sol-fa-ing and then laa-ing. 

Memory Singing. The practice of singing whole piecea 
to words, from memory in obedience to the order "Close 
books: eyes on the baton" is a very enjoyable one. The singer 
enjoys the exercise of subordination to his conductor, along with 
a sense of companionship in that subordination, and delights 
in the effects which are thus produced. This pmctice is very 
needful at the present stage in order to form a habit, in the 
singer, of looking wp from his book. This should now be his 
normal position. But, as from necessity, the learner's eyes have 
hitherto been much engaged with his book, he will have to make 
a conscious effort to form "the habit of looking up." Occasional 
"Memory Singing" will make him feel the use and pleasure of 
this. 

Kar Exercises (which will now include fe and ta, and 

new difficulties of time), Dictation, Pointing and Writing from 
Memory, should still be practiced. Writing from memory does 
not at all take the place of pointiug from memory. There have 
been pupils who could write from memory, but could not point 
the same tunes on the modulator. It is important to establish 
in the memory that pictorial view of key-relationship which the 
modulator gives, especially now that the study of Transition is 
added to that of the scale. 



FOURTH STEP. 



Hi 



QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 

DOCTRINE. 



I How many greater steps are there in the scale, 
and between which tones do they occur? 

t, How many smaller steps are there and where 
do they occur ? 

I. How many little steps are there, and where 
are they ? 

1 What is the difi'erence between a greater and 
a smaller step called? 

t. How many koinmas has a greater step? A 
smaller step ? A little step ? 

C. y what other names are intervals called? 

T. tVhat is the interval from any tone to the 
next in the scale called ? 

ft. What is the interval from any tone to the 
third tone from it called? 

S. What is a Second called that is equal to one 
full step ? 

$. What is a Second called that is equal to a lit- 
tle step ( half-step ) ? 

d. What kind of a Third is equal to two steps? 

St. What kind of a Third is equal to one full step 
and one little step? 

13- What is the interval from fah to te called ? 



14. Which are the two most marked characteristic 

tones of the scale ? 

15. From their mental effects, what are/a/t and te 

called? 

16. What is a change of key during the course of 

a tune called ? 

17. Which is the sharp distinguishing tone, and 

what is its mental effect 'I 

18. Which is the flat distinguishing tone, and 

what is its mental effect ? 

19. On which side of the modulator is the first 

sharp key 'I On which side is the first flat 
key? 

20. In going to the first sharp key what does the 

o/iot'the old key become in the new? What 
does the old lah become ? What does the old 
te become? ( The teacher will supply addi- 
tional questions.) 

21. In going to the first flat key what tone of the 

old key becomes doh in 'the new? What 
tone becomes ray 1 (The teacher will sup- 
ply additional questions.) 

22. What is that tone called on which the change 

is made from one key to another ? 



23. How are bridge-tones indicated In the nota 

tion ? 

24. What is the meaning of the little notes placet! 

on the right or left of the key signature ii. 
transition / 

25. What are the general mental effects of transi- 

tion to the first sharp key 't To the first 
flat key 1 

26. What is a Cadence Transition ? Ts it written 

in the "perfect " or " imperfect " way < 

27. What is a Passing Transition ? How written ? 

28. What is Extended Transition? How written? 

29. What is the name for a silent quarter-pulse on 

the strong part of a pulse? On the weak 
part? How is it indicated in the notation? 

30. What is the name of a pulse divided into 

thirds ? How indicated in the notation ? 

31. What is syncopation ? 

32. What is its effect upon a weak pulse, or weak 

part of a pulse 1 

33. What is its effect upon the next following 

strong pulse ? 



PRACTICE. 



M. Teacher singing to figures, Exercise 175, let 
the pupil tell to what figure the distin- 
guishing tone of the first sharp key was 
sung. The same with 176. 

15. In the same manner let the pupil name the 

distinguishing tone of the first flat key, in 
Exercises 183 and 184. 

16. Teacher singing to figures, No. 265 (each line 

'beginning with i) :let the pupil name by its 
figure, first, the distinguishing tone of the 
departing transition; and, second, that of 
the returning transition. 

fr. Pitch, without a tuning fork, the keys B. B 
-2at, E. E flat and A flat. The pupil has 
not satisfied this requirement, if, when test- 
ed, he is found to be wrong so much as a 
ntep. 



38. Taatai from memory any one of the Exercises 

241, 243, 252, 254, the first pulse being named. 

39. Beat a number of two-pulse measures describ- 

ing the motions of the I and. The same 
with four-pulse measure The same with 
six-pulse measure. 

40 Follow the examiner's pointing in a new vol- 
untary containing transition, both to the 
first sharp and first flat keys, and sinjiing 
to laa. 

41. Point and sol-fa on the modulator, from mem- 

ory, any one of the pieces on pages 73 to 76, 
chosen by the examiner. 

42. Write.from memory, any other of these pieces 

chosen by the examiner. 



43. Sing to laa at first sight.auy exercise not more 

difficult than these pieces. 

44. Tell which is fe and which is ta, as directed, 

page 34, question 31. 

45. Tell what tone (fe or ta) is laa, as directed, 

page 34, question 32. 

46. Taatai anyrhvthym of twoorthree four-pulse 

measures, belonging to this step, which the 
examiner shall laa to you. Seepage 34,ques- 
tion IJii. 

47. Taatai in tune, any rhythm of two or three 

four-pulse measures, belonging to this step, 
which the examiner shall gol-fa to you. 



112 



INDEX. -Part I. 



Far Index to Part II, see page 224. 



After Labor we shall find. (Round) "M 

All that now 37 

All together. (Round) 58 

Antwerp L. M 59 

Anywhere 74 

Banish Sorrow 31 

Banish all Trouble. (Round) 53 

Bira home, the Bells. (Round) 59 

Bounding so merrily onward 26 

Bright New Year, The 69 

Call John the Boatman. (Round) 95 

Chairs to M.-nd. (Round) 50 

Cheerful Labor i 

Cheerfulness coiueth of. (Round) 26 

Chime Again ?9 

Christmas Carol ! 

Christmas Song 46 

Come, let's Laugh. ( Koiind) 25 

Conic, let us all bo Merry 9(i 

Come now let us. (Hound) 36 

Come now. (Round) 95 

Come now. (Round) 95 

Come, Merry Men. (Hound) -5 

Come Unto Me 100 

Come with the Reapers. (Hound) j 

Coming Night ' 

Cuckoo, cuckoo. (Round) 27 

Dennis. S. M 1 H 

Elementary Rhythms 107-110 

Evan. C. M 51 

Evening on the Lake 105 

Evening Prayer 5:< 

Every Day hath Toil lul 

Falling Leaves 48 

Father of Mercies 77 

Gentle Spring is here again 30 

Gently Evening Beudeth 73 

Great and Good 14 

Gracious Promise 70 

.,Happy Home 25 

Hear the Warbling Notes 

Jlere 1 go. (Round) 20 

Hope will banish Sorrow M 

Bow Sweet to go Straying 1 

how Sweet to Hear ' 

Hurrah tor the Sleigh Bells ! - 

Hurrah j 

^tturrynow. (Round) & 



If Happiness. (Round) 36 

If the Weather. (Round) 36 

In the Vineyard 91 

Join in Singing. (Round) 14 

Keokuk. C. M 58 

Langdon. C. M 104 

Longings 23 

x>ru'a Prayer, The 55 

^o ! the G lad May Morn 42 

jovely Land, The. 74 

>o vely M ay 33 

iOiid and strong 29 

..oud through the World Proclaim 62 



March, march, march along 

March, march, inarch away 

May is here 

Merrily, merrily Dancing. (Hound) 

Merrily, merrily wound the Horn 

Merrily sings tin- Lark 

Merrily the Bells. (Round) 

Merrily the Cuckoo 

Merry May. (Round) 

Miller. The 

M. 



llvnm 



Mother. Childhood. Friends and Home. 

M iirniering Brooklet 

Music Everywhere 

My Mountain Home 



Never Say Fail 46 

New Hope. 71 

No, no. no. (Round; 95 

Now beware. (Round) 85 

Now our Voices 44 

Now Sing aloud. (Hound) 15 

Now the Evening Falls 52 

Now the Twilight Closing. (Round) .... 61 

Now the Wintry Storms 81 

Now we are met. (Round) 25 

Nov.- we Sing 27 

Nutting Song 98 

Once more United 45 

Oh 1 the Sports of Childhood 60 

Oh, Wipe away that Tear 87 

One, two, three. ( Round) 32 

Onward, Christian Soldiers 76 

O Sweet to Me 37 



Out in the Shady Bowers 88 

OverthoSnow 28 

Rest, Weary Pilgrim 84 

Ring, Ring (Hound) 93 

Rise, Cynthia, Rise 82 

Roaming over Meadows. (Hound) 16 

Bobbins. C. M 57 

Sabbath Evening 103 

Scotland's burning. (Round) 20 

See the Sun in Glory 41 

Serenade 51 



Silent Vale 38 

Singing Cheerily 88 

Sing we now. (Round) 30 

Skating Glee 42 

Sleep Beloved 106 

Soft and sweet 29 

Softly now 34 

Song of the Autumn 39 

Songs of Praise 45 

StillLike Dew 29 

Sweet Evening Hour (Cowley) 28 

Sweet Evening Hour (Knllak) 90 

Sweet Voice, The 102 

Swell the Anthem 22 

Sun Shower 50 

.Summer Flowers. (Hound) 80 

Summer Days are now. (Round) 81 

Tick, tock. (Round) 59 

Too much haste. (Round) 94 

Trip, trip 48 

Trip, trip, Fairies light. (Round) 80 

Tuning Exercises 21, 37, 38 

Twilight is Stealing 61 

Virtue would Gloriously 73 

Wake the Sonc of Jubilee 54 

Wandering in Darkness 34 

Wayside Well, The 40 

What a Clatter. (Round) 16 

When the Pansies. (Round) 25 

Who's there t 27 

Whv should we Sigh. (Round) 93 

Will the Violet Bloom. (Round) 49 

With the Rosy Light 83 

With the Spring-time. (Round) 37 



Yea, or No. 



T 2 



THE 



TONIC SOL-FA MUSIC READER 


REVISED AND IMPROVED. 

A COURSE OF INSTRUCTION AND PRACTICE IN THE 

TONIC SOL-FA METHOD OF TEACHING SINGING, 



WITH A 



CHOICE COLLECTION OF Music SUITABLE FOR DAY SCHOOLS AND 

SINGING SCHOOLS. 



BY THEODORE F. SEWARD AND B. C. UNSELD. 

APPROVED BY JOHN CURWEN. 



The Biglow & Main Co., Publishers, 

135 FMKTH A.VKNUE. NETW YORK. LAKESIDE BUILDING, CHICAGO. 

TOR SALE BY BOOKSELLERS AND MUSIC DEALERS GENERALLY. 



114 



Copyright, i*>2. by THE BlGLOW 4 MAIN CO. 



PREFACE TO PART II. 



The second part of the Tonic Sol-fa Music Reader may be regarded as somewhat unique among books of its class. In the num. 
ber of the subjects treated, the condensed yet thorough method of their presentation, and the variety of exercises, illustrations and 
pleasiu" musical selections, it cannot but prove of great value alike to teachers and to students. Its characteristic features may bo 
classified us follows: 

1. The advanced musical work of the fifth and sixth steps clearly elucidated and carefully developed through suitable exercises. 

2. A choice set of choruses and part-sougs of a corresponding grade. 

3. A voice-training department, with helpful suggestions to the teacher aud progressive exercises for the pupila 

4. A staff notation department in which the relation of Touic Sol-fa training to the staff is fully explained and illustrated. 
Every great reform, whether it be religious, educational or political, is sure to be misunderstood at first. The great mistake of 

teachers and the public with regard to Tonic Sol-fa has been in its relation to the staff. It has been supposed to be an enemy of the staff, 
iuteuded to rival and supplant it. It is no more antagonistic to the stnff Hun arithmetic is to algebra, or a dictionary to Shakespeare. 
It affords a most important, and, to the average human being, an indi>].tetntl>le preparation for the staff. As most of the singing 
people in America do not yet avail themselves of this preparation, they are vt ry imperfect readers of the staff, while in England thou- 
sands are able to join the best vocal societies who are not even known as Tonic Sol-faists. 

Yet it should also be understood tliat Tonic Sol-fa is a complete system in itself. It treats every musical truth philosophically, 
it symbolizes it educationally, and its literature embraces nearly all the classical vocal music that is printed iu the staff notation 
English glees, German glees, masses, cantatas and oratorios, from Hand- 1's Mrssiuh to Gounod's Redemption. Thus it gives music to 
the masses of the people who have not time to learn the staff. In addition to the thousands of staff readers it has created iu England, 
there are many other thousands who sing oratorios from the Tonic Sol-fa notation. 

No greater mistake can be made by teachers or learners than to suppose that the benefits of Tonic Sol-fa can be gained by using 
its methods and devices without employing the notation. The prevalence of this error is doing vast injury to the musical interests of 
this country. The use of the notation has placed England far in advance of America in its popular musical culture. 

The educational value of the Tonic Sol-fa notation is shown by the fact that the staff department of this book is much more 
comprehensive than the instruction of ordinary staff books, explaining principles for reading difficult music; modulations, transitions, 
analysis of the minor, etc., which in staff books usually receive no attention whatever. 

THEODORE F. SEWARD. 
BENJAMIN C. UNSELD. 



Requirements for the Third Grade or Intermediate Certificate. 

Questions and answers, to prepare for the Third Grade Musical Theory are supplied by the College at 2 Cents per Copy, plus postage. 



Examiners. Tlioso who hold the Fourth Grade, or a higher certifi- 
cate, with Theory, and who have been appointed to examine by the College 
of Music. 

Before examination, Candidates must satisfy the Examiner that they 
hold the Second (ivudo Certificate. 

1. Memory. (n) Bring the names of three tnncs. each containing 
either t lie sharp fourth (fe\ the tint seventh (ta). or the leading note of 
the minor mode me), and half-pulse notes, and write from memory iu time 
and tune one of these tunes, chosen by lot. 

Written or printed copies of the above tunes should be given to the 
Examiner for comparison with the Written Exercises. 

The. memory copies are required to bo exact as respects: name, key, 
time, tune, etc. 

2. Time. Taatai at first sight and then laa in perfectly correct time, 
a rhythmic test .including any of the following time forms; vi/,.: triplets. 
half pulse, silences, and syncopations. [Two attempts allowed; a different 
test to be given for the second trial.] 

Candidates may laa instead of taatni-ing the test. 

:{. Modulator. (a) Sing laa to the Examiner's pointing on the modu- 
lator a voluntary including transitions of one remove, (b) Sol-fa a volun- 
tary including easy transitions of two and three removes, ami phrases in 
the minor mode. 



Candidates may luu instead of nol-faitig 3b. 

4. Tunr. V\M\ the key-tone hv means of iv given C and sing the re- 
quired tests which shall contain no division of time less than half-pulses: 
(n) Sol /a once, then laa a test including transition of one remove, (b) Laa 
once, then sini; to words a lest without, transition. Ic) Sol-fa once, then 
luu a test in the minor mode which may contain the tones ba and ee. 

Candidates may sing to In i instead of mil fainrj 4n and 4e. 

5. Kar Tent. Write tin- Sol-fa notes of nnv two simple phrases of five 
tones each, the Examiner telling the pitch of the key-tone, sounding the 
Doli chord, and singing the tune t<i laa or playing it riot more, than twice. 
[Two attempts allowod : n different test to he given for the second trial. ] 

The College inll supply to the Examiner the tet to be lined in ATot'. -, 
//, and !>. 

NOTK. The registration fee for this Certificate is 30 rei'ts, which is 
exclusive of Examiner's fee. .Registration fee stamp may be purchased 
from the Examiner 

Persons holding the Third Grade or Intermediate- Certificate are 
Members of The American Tonic, Sol fa Association, hut only tin* members 
\\ ho subscribe the nnionnt of the annual dues, one dollar shall be entitled 
to voting privileges, the Official Journal, the -"ollege Calendar, and the 
other prints and pamphlets that may be issued by this organization. 



115 



FIFTH STEP. 

The Modes, Major and Minor. The Modern Minor. Modulation and Transitional Modulation. 



The Modes. Thus fur in our studies Doh has been the key-tone, or point of repose. 
Any tone of the Scale maybe made to predominate in n tune so as to bear the character of a 
key-tone and to givesomethiug of its own peculiar mental effects to the music. A mode of 
using the common Scale which makes Ray the most prominent tone is called the Ray Mode. A 
Mode which makes Luh predominant is culled the Lull Mode. Tunes in the Kay and Lak 
Modes have a sad, plaintive effect. Tunes in the Doh Mod" are more or less bright and joyous. 
The Doh Mode on account of its Major Third is called the Major Mode. The Ray and Lah Modes 
having Mhior Thirds are called Minor Modes. A Major Mode is distinguished by the Major 
Third; a Minor Mode by the Minor Third. 

The Modern Minor. Of the Minor Modes the Lah Mode is the one most used at 
the present day. To give Lah the importance of a Key-tone, modern harmony requires it to 
have a leading tone (se), bearing the (same relation to Lah thatfe has to doh. The introduction 
ol .se creates an unpleasant melodic interval between/a/t and se, to avoid which, Melody oc- 
casioually-requires a new tone a step below se, called ba, having the same relation to se that 
lah has to te. In a downward melody soh is sometimes used instead of se. The Lah Mode 
thus modified by these new tones is called the Modern Minor. The essential Seventh of the 
Modern Minor, that required by Harmony, is se; the occasional Seventh, that, required by 
Melody, is <So/i. The essential Sixth, that required by Harmony, is Jah; the occasional Sixth, 
that required l>y Melody, is ba. 

Modulation. A change of mode, during the progress of a tune, is called Modulation. 
A change from the major to the minor mode of the same key is called a Modulation to the 
Relative Minor. A change from the minor to the major mode of the same key is called a Mod- 
ulation to the Relative Major. The mental effectof a modulation into the Minor mode is that 
of passing into shadow ai^d gloom. Modulation into the Major mode has the effect of sun- 
shine and cheerfulness. 

The term ' modulation " commonly means change of key, but in the Tonic Sol-fa method change of key 
IN called : lunsition. change of mode, modulation. 

Transitional Modulation. A change of both key and mode, during the course 
of a tnnp, is called Transitional Modulation. The commonest form of this change is that 
from the Major mode to the Relative Minor of the First Flat key. Another, though less fre- 
quent Transitional Modulation, is that to the Relative Minor of the First Sharp key. 



RAY 
MODE. 


DOH 
MODE. 


LAH 
MOD?. 


MODERN MINOR. 
with SE, with BA. 


Rdif 


r 1 


r 1 


r 1 


r 1 


Doh' 


DOH 1 


d 1 


d 1 


d 1 


Te 


TE 


t 


t 


t 


Lah 


LAH 


Lah 


Lah 


Lah 


Soh 


SOH 


Soh 


Se 


Se 










Ba 


Fah 


FAH 


Fah 


Fah 




Me 


ME 


Me 


Me 


Me 


Ray 


RAY 


Ray 


Ray 


Ray 


d 


DOH 


Doh 


Doh 


Doh 


t, 


t, 


Te, 


Te, 


^, 


1, 


l, 


Luh t 


Lah, 


Lah, 



s:r i 

t Their ! 



, KEY C. Ray is D. RAY MODE. 

f :r II :f In :r 

blood a - - I bout Je - - I ru - sa 



d' 



lem, Like 



wa - ter 



they have 



^^ 
I shed; f 



And 



d' :s 

there was 



1 

none 



:f 

to 



n 

bu 



:r 

ry 



1 :d' it :s 

them, When I they were 



1 :m 

slain and 



r 

dead. 



S3O. KEYG. 


Ray is 


A. RAY MODE. 


:1 


r : 


If 


:r 


n : 


I.'Tis 


sweet 


to 


re - 


mem 


2.But 


now 


all 


are 


past, 



- |r :- 

ber 
and 



Id 



cher-ished 
dear ones 



scenes 
have 



:r 

of 
gone 



n :d 

child-hood, 
with them, 



It, 

Oh, 
Oh, 



how 
how 



:- |f 



pure 
sweet, 



is 

yet 



:r 

the 
how 



n 

fount 
sad, 



:- |r 

ain 

are 



of 
the 



ir 

pi 



:d 



hap - pi - ness tVs^y 
pen - sive thoughts they 



r : 

bring, 
bring, . 



116 



FIFTH STEP. 



KEY J>|?. Lnh is A. LAH MODK.. This may be Rung in the Modern Minor by singing se for every 8. 



:li l 


:t, d 


:t, 1, :1, 


S| Id 


n :r d 


:t id 


My fri 


ends thou ha 


st put far from 


me, And 


him that did 


me llove; 


: d n 


:r d 


:t, 1, :l, 


S| :d 


t, :l, 1, 


:s, T 


And th( 


>se that m 


y ac quaint-ance 


were To 


dark ness did'st 


re - move. 


^"M. KEY El?. Lah is 


C. LAH MODE. 




T. F. S. 


:d' .t 


1 :n 


If PI Id Id 1 .t 1 


:n :f i 


1 1 


1 When the 


swell of 


the o - cean No 1< 


>ng - <?r is ; 


een, 


2 When the 


sun fails 


in giv - ing His h 


is - tre and 1 


leat, 


3. When the 


moon shines 


no long - er On n 


lount - ain and i 


5len; 


:m .n 


r :t| 


:n d :l, :d t 


1 


1 


Ami the 


fo - liage 


of Sum - mer Shall c 


ease to be t 


jreen; 


And the 


scent of 


the rose Be not s 


>oth - ing and > 


weet; 


O 'tis 


then I'll 


for - get thee, But 11 


ev - er till t 


hen. 


ST'?^. KEY C. Lah is A. MODERN MINOR. 


il :l 


se :se 


1 :- |t :- 


d' :d' 


t :t 1 : 


; 


| Sum mer 


time is 


gone and 


sa.l - ly 


sighs the breeze; 




In :m 


|f :f 


m :- 1 :- 


d' :t 


1 :se l : 


___ 


Moan- ing 


as it 


goes through 


bare and 


leaf-less trees. 




27T$. KEY O. Lah is E. 


T. F. S. 


1, :- :l 


d :- :d 


t| :1| :t| 1| : :nj 


li :- :t, 


d : :r n : :f 


n : : 


l.Lone - ly 


hearts there 


are to cher - ish, 


While the 


days are go - ing 


by; 


2.O! th 


e world is 


full of sigh - ing, 


Full of 


sad and weep - inf 


eyes; 


f : :f 


t, :- :t 


m : :r d : :t| 


1 :se, :i, 


d : :ti 1| : :se 


. 1. :- :- 


Wea - ry 
Full of 


souls there 
grief and 


are who per - ish, 
bit - ter cry - ing, 


WlTil<r the 
While the 


days are go - in 
days are go - in 


B by. 

g by. 



?' 4. KEY F. Lah is D. Round in four parts. 

a. 

I li tt| Id : id :r in :m 

[Thou, poor | bird, [mourn'st the I tree, Where 



|n.l :1 .sell .n :n .r Id :t| |1| : II 

I sweetly Ihou dids'J warble in thy I wand'rings ! free. 



SJTT5. KEY C. Lah is A. 

1st Division. 

I se II Ise 



se : 



2d Division. 

:n If :f \n :r 



1st Div. 



i :1 



se 



2d Div. 

it n 



1st Div. 



se 



2d Div. 

:f n 



Together. 

il Ise if |n Ise 11 : 



FIFTH STEP. 



117 



II 
II 



KEY F. Lah is D. Round in two parts. < 

Ir : 



1 a 



d 1 :- 
n :- 



t, :t, 

se :se 



d :d 

If :f 



PI 



:m 
:r 



If :f 
d :d 



se :se 

ti :t, 



'. KEY < 

t :l 


3. Lah 

se:- 


is A. 

1 :- 




1 :f 


m 


:m 


m :- 


/ 


d ^' 


^. I/ 1 

d ':r 


CY G. 

m :- 


Lah if< I 

m :- 


i 
r :d 


t 


:t, 


l. : 


m :m 




m :- 


m : 




f :r 


d 


it. 


d :- 


( 

i 


1, :- 


1, :l, 


se,:- 


1, 


:- 


se,:l, 


1 


:sei 


1, : 


t :d' 




t :- 


1 : 




1 :l 


1 


:se 


1 :- 




m :- 


d :i, 


t, :- 


d 


:- 


r :m 


PI :r 


d : 


se :1 




m :- 


d : 




r :r 


m 


:PI 


l. :- 


1 


l, :- 


1, :f, 


PI,:- 


d 


!- 


t. :ii 


n 


,:m, 


1. : 


>. KEY 


F. Lah is D. 


Round in two parts. 


11 


t, :t 


d :d 


r : 


PI :n Iba :ba 


se :se 


1 :- 



- I 



II 



1 a 



:s 



. KEYC. Lah is A. 



>ay, my heart, why 



fin :PI |ba :se 

('liViirs from out thy 



PI : 



f :f | m :m 

art thou swell - ing? 

1 :se |l :t 

depths are well - ing, 



:r 



f :m 

Why so 

d 1 :t 



d :d 



|r :d 

heav - y, 



i. :- 
m : 



1 



:m 



Say, what would thy 



*l *! 

sad aud weak ? 



ba :se |1 : 



ful - 



II 



KEY G. Lah'sE. Round for two parts. 



d :m |d 

iliirk ! with - out 



the 



t :r 

Mtorm is 



|d :- 

lou'd, 



tt 
II 



2. KEYEJ?. Lah is C. Round for four parts. * 
se :1 |t :PI | PI :ba.se|l :1, 

loue - li - ness The 



dark-ness 



and ia 



li :se, |l. 

See, a - bove 

It, :d r 

I watch-man on 



the 



seek? 



1| 



black - en'd cloud. 



n : 

Twelve 



m : | :d .r I PI :1 

clock! Hear the I hoi - low 



Id^r |m :r |d : 

his ' way must press; 

[se.ba;m .r Id :t, |1, 

soiuid in the I emp - ty street. 



II 



SS**. KEY AJ2. Lah is F. Round for four parts. 

NI :n, 'I, :i. It, :t, |d ;- 

Gone ia Au - tuuiu's | kind - ly glow, 



PI :m .r jd Jl| 

Now tue blasts of 



\viu - ter 



blow. 



118 



FIFTH STEP. 



If tbf U-wcUer prefers, the Minor Mode mny be introduced in imitating exercises of Major with Relative Minor. This will show 
the sha<lou v, ,ie)>pn<lt>nt char - 

easiest \v iy\.i tetu-Liuy it is 
Minor <iss its ^badc-iv. 



II 



SS J=. KE\ G. Major. 

d :d |r :r 



E P. Major. 

[PI :d 



- S8O. KEY A. M<ijor. 



Relative Minoi, wiih Se. 



Sl5? . KEY O. Major. 



{ |l :- 



:r 



S8S. Kfcvr F. Major. 



II" 

Relative Mhu ] 

d :t, 



|d : 



II 



SS*O. li EY C. Major. 

jjd 1 :s |d' :d' 

St>O. KKY C. Major. 

(Id 1 :d^ |t :t 

SOI. KE-. A7. Major. 



||n :r 



|d 



SOS. Kia'C. Major. 

Is |d l :t Id 1 



SOS. 

Ud :s, 



?. Major. 



of the Minor. The Minor Mod- is so much an artificial imitation of the M;ijor tha 
unparing the Minor with its Relative Major. Let the Major be considered as a snbi 


1 

n :r |d :- 


Relative Minor. 


ti :t, 


d :t, |1, 


s .f :m jr |d : 


Relative Minor. 


d :l, 


n .r :d .t, |1| 


d :r n : 


,x> 


n :r 


d :t, d 


1, :t, d :- 


d :r 


d :t, 


1 :sei l. 


j 

m .r :d .t, d :d 


Relative Minor. 

1, :se, | 


1, :t, 


d .t :1| .se 1 


r :d |ti : 


r :d | 


t, :r 


d :t, d 


t, :l, |se, :- 


t, :l, 


S6| :t| 


li :se, |1, 


t .d 1 :r' .t Id' :- 


Relative Minor. 

1 :n |1 :l 


se.l :t .86 1 


1 :t |d' : 


Relative Minor, v 

1 :l 


ji//i Ba. 

se :se 


ba :se 1 


i 

d ,t| :l, .t, d : 


ielative Minor. 

d :t, 


li :n ( " 


li .se, :ba|.se t I, 


Relative Minor. 

s 1 :t |d' :n |1 :se 11 :m ba :se 


1 

n Jr |d : 


ielative Minor. 

I, I HI ba|.s6|ll| ,t| 


d :t, |1, 



FIFTH STEP. 


*j-f}t_ 


t. KEY!). 


AYELIN. 

Lah is B. MODERN MINOR. 


, n : 


PI |f 


:f 


PI JPI m J 


PI Jm |1 Ji 


1 Jse jl 



~~* 


(d : 


d |r 


Jr 


d Jt, |d J- 


d Jd m If 


m :r |d : 


j l.Po- 


y Spir - 


it! 


pi - ty me, 


Pierced with grief for 


L;riev - ing Thee; 


\ 2. Oh, <>e mer 


ci - 


fil to me, 


Now in bit - ter - 


ness for Thee; 


( 1 :l |1 :i 


1 Jse |1 :- 


1 Jse 1 Jl .t 


d 1 Jt 1 


1 


1 1, : 


1. Ir 


Jr 


PI JPI 1 1 I 


1 Jt, jd Jr 


m Jm |lj 





n : 


n |f 


:f 


PI Jl se J 


se Jse 1 Jl .t 


d' Jt |1 





(d : 


d |r 


Jr 


PI JPI ml 


m Jm m If 


m Jr |d J 


i Pres / ent, though 


i 


mourn a - part, 


List - eu to a 


wail - ing heart. 


Path er ! par - 


don 


thro' Thy Son, 


Sins a - gainst the 


Spir - it done. 


J : 


1 H 


Jl 


1 Jd 1 t J- 


t Jt |1 Jl 


1 Jse |1 





y li : 


li Ir 


Jr d Jli PI J 


m Jr [d Jr 


m Jm |1 







THE SAD LEAVES ARE DYING. 


X2OS. KEYB!?. 


Lah is G. 


CHESTER G. ALLEN. 


,.P1| C 


i :- It, 


:li 


t, J PI, JPI, PI 


J- r Jd t, J- - 


- :t, d :- 


ti :l. 


(jPI, 1 


:- Hi 


Hi 


se, J PI, Jm, m. 


J- m, :m : m, J- - 


jpi| pi| J 


Pi| Jm, 


'l.'l'he S 


id leaves are 


ly - ing, the sw 


jet birds have tiuwn, 


My phy - 


mates of 


J2.My f< 


md hopes are 


dy - ing, my lov 


ed ones have liown, 


The mends 


of my 


f Jd r 


i J r 


Jd 


t, J- sei Jr d 


: t, JL se, : - 


Jt m J 


r Jd 


"li ! 


:- 11. 


i 


Pl| J PI, JS6) lj 


:- |se| :1| HI ; - 


JS6| 1, J 


Hi :l. 


se, J- 


fi. :m 


r J- .d t, Jt, 1, J- 


:m| 1( ._ 1( 


Jd t, Jse, 


m, Jm, 


( N, J- 




S6| J- .1, S6, JS6j 1, J- 


Irn, HI J |m. 


Jn, PI, J- 


m, Jm, 


, sum 


mer have left me a - Icue; 


O'er ev - cry 


fair )lu; 


som once 


< child 


- hood have left me a - lone; 


But O, in 


i; e clrs 


tance a 


(t, :- 


d Jd 


m J j PI Jr d J- 


- Jd d J- d 


Jm r Jt, 


sei Jr 


m * 


- i, :l, 


m> J [PI, JPI l a J- 


- Jl, ll J- 1, 


Jl m, J- 


Pi; JS6| 


d :- 


- r Jd 


t, :- 


Jti PI J r 


Jd r J d Jl, m. 


I 1 Jse, 1 


J 


mi J- 


Pii Jpi| 


PI, j 


Jn, PI, J PI 


i f n jp. pj. 


j pi| Jm, m 


1 ' 


bloom 


- ing and 


bright, The frost spir - it lays her old fin 


gi-rs to - in 


ght. 


fair 


hand I 


see, "Whe'.'e those I 


have trniK - n -e:l -re \vai 


t - ing tor m 


e. 


d :- 


' It, Jl 


se J Jr d J t. 


Jm m J m .'d d 


: |d Jr d 





1. :- 


- S6| Jl 


PI, J :se 1, J so 


i :l sei ' - v :)i 1, 


j m, Jm, 1. 


, J 



119 



120 



FIKST STEP. 



FREEDOM SPREADS HER DOWNY WINGS. 



JOO. KEY O. 


Lah is A. 


Extended modulation to Relative Major. 


Cossack Melody. 


/I 4 :l 


.n 


1 
n 


.d 1 :t 


.1 




se ,,se Ise .,se 
n M n in ,,n 


se .t :1 .se 


1 .,1 11 J 

n ,,PI In .PI 


,n :n 




n .1 


n in 




' 1. Free-dom spreads her 
<f 2. Happiest spot on 
J 3. Hearts a - live with 


down-y wings, 
which the sun, 
pa - triot fire, 


O - ver all cre- 
E'er with ge - nial 
Let her fame your 


a - ted things, 
rays hath shown! 
deeds in - spire; 


jlo - ry to the 
Let us hand from 
Weave the straiu and 


( d 1 ,,d' :d 
* 1 .,1 :l 

1 .d' :t 


.d 1 
.1 

.1 


d 1 
1 


.1 :r" 


.d' 




t .,t It ,,t 
1 I- . 

n I- . 

knee, 
great, 
stand; 


t .r' :d' 


.t 

.d' 
.n 

His 
ion 
the 


i .',1 ii a 

d .n Ir 1 .d 1 


.1 :se 


.1 


n .n in 

d ,,d' :d' 
n ,,n in 

Kneel be fore 
Sound the clar - 
Far as rolls- 


t .f In 1 .,se 
f .1 Ise ,,n 

Bend to Him the 
All that makes her 
Where your al - tars 


PI .PI In 

King of kings, 
sire to son 
wake the lyre, 


n .s If .n 


ra-diant throne, 
peals of fame, 
swelling sea, 


d' .1 Ir' 


.d 1 


r 1 
r 

.r' 
.f 


.ri It 
,r In 

Id 1 .t 


. r 1 
M n 

1 .,1 
n .,P 

He tl 
From o 


d 1 

1 

11 .1 

iln .PI 

e on - ly 

ir fathers 



~ 

~ ' 

1 .d 1 :t 


S 

d 




.,8 IS .8 

.,d :d .d 

t .f 1 ;n' ,,S6 
f J Ise ..m 

And He made n. 
Tis our birth rig 


s .d' :t .d 1 


1 J Ise .1 


d .d Id 

1 : 
n : 

< free, 
t here. 


j t tjt) t *t 

1 f f *f f 

1 I .,1 .1 ,1 

J Bow to Him and 
\ Breathe Columbia's 


t 
f 


:s .f 


n ,n m 

King we own, 
freedom came, 


Him a - lone, 
hiil-lowed name, 


; Send the song of 

( r 1 ,,r' :r' .r 1 
s .,s :s .s 

iOT'. KEY G. i/ 


lil>-er - 

r' .t 

S .8 

i is R 


ty, 
In' .r 1 
Is .se 


Hon. - or tliee the 

d 1 .,d id' .d 1 
1 .,1 11 ,1 

HARK! THI 


brave, the free, 

d 1 J Ir' .d 1 


And our na - tm 

r 1 .r 1 It ,,r 
r ,r In ,,n 


land. 

d 1 : 

l. :- 


1 .1 Ise J 

E PEALING. 




d :d 


Hi 


It 




d Id 




1, 


It, 


d Id 




t, 


; 


1, 


:l Is, .- 


li : li 


Hi 


:1 




1, :1, 




1, 


:1, 


1, Il| 




86, 





1, 


If ni I 


. Hark! the peal - ing, 
2. Wei-come is the 


soft - ly 
sil - v'ry 


steal 
mil 


- inR, 
- sic, 


Eve - ning 
Sil - v'ry 




bell, 

bell, 


eve - ning bell; 
sil - v'ry bell; 


n In 


d 


Ir 




n In 




d 


Ir 


n In 




m 


Ir 


d 

f, 


Id d - 

:f. d, - 


n. 


: 


n In [d 


Ir 




n in 




d 


Ir 


n Ir 


Id It, 


1. 


. 
. 


s, Is, 


m, 


If 




S, IS) 




d 


Id 


d It, 




1, 


Ise, 


li 


. 
. 


Clear -ly 

Sweet-ly 


ech 
tell 


- o, 
- ing, 


sweet - ly 
gen - 11 v 




ech 
tell 


o, 
- ing 


Gen - tly 
Of the 


down 
day's 


the 
tare - 


dell, 
well. 




d Id |d 


:d 




d Id 




n 


If 


8 If 




n 


Ir 


d 


:- 1- 


d, :d, | 


di 


Id 




d, :d, 




d 


;d, 


d, IT, 




n, 


Ini 


1| 


:- h- 



FIFTH STEP. 



123 



. KEY C. Lah is A. 

:d ,d In 



l.Lit - He by lit 
2. Lit - tie by lit 



In 

tie, 
tie 



LITTLE BY LITTLE. 

t It .t |r" I- 

n In ,n | n I 

sure - ly and slow, 
creep -eth tlie tide, 

se Ise.se |t I 

n In ,n in I 



d 1 Id' .d 1 
n In .PI 

Make we our 
Soon like a 

1 11 .1 
1 11 .1 


n' j" Id' .t 


n In.f 

fu - ture of 
tor - rent it 

d 1 .t 11 .r 1 


1 11 .r 



T. F. SEWABD. 

1 Ise.se|l I 

n Ir .r |d I 

liliss and of woe; 
sweeps far and wide; 

d' It .t |1 I- 

n In.n 1 I 



s Is .f | PUS Id 1 
r Ir .r |<L,nIn 

Ev - er be climb-ing 
Guard each begin-ing, 

t It.t Id 1 Id' 
s Is ,s |d Id 



s Is .f 


n I 


r Ir ,r 


d I 


up to the light, 
turn to the light, 


t It.t 


d 1 I 


s Is .s Id I 



n In.n | n.r Id 
r Ir .r |d.t|Il| 

Else we must downward go 
Else we must downward go 

se I se.se] 1 .1 :1 

t, it, .t,|l, .l,:l. 



n I n 


In 


1 I 


t, I- d 


Ir 


d I 


in - to 


the 


night. 


in - to 


the 


night. 


se I |1 


It 


1 I 


n I n 


In 


l. : 



T. F. SEWARD. 



NIGHT! LOVELY NIGHT! 



n It| .,d|l| 

PI i if, ,,f| | n i 

I. Night, lovely night 
2.13iightly the moon 

d Ir ,,r|d 
1. II, .AH. 



Lah is G. 




: .1, 


t, .d Ir .f 


n 


11 


I .nj 


f, .f, :f, .1, 


1. 


In, 


i 


sing thy wondrous beauty 


O'er 


hill and vallty shin - 


ing 


I .d 


r .r Ir .r |d 


Id 


: .1, 


li .1, 11, .1, 


1. 


:li 



n It, 


.,d 1, 


1 .1, 


PI, If, 


,,f, n. 


I .ni 


Perfumes 


so rare 


From 


Soon, ah! 


too soon 


Her 


u Ir 


.,r|d 


I .d 


1. :l. 


.A Hi 


: A 



t, .d Ir .f | n 11 

f, .f. If, .1, |1, In, 

blossoms sweet ascending, 
pearly rays declin - ing, 

r .r Ir .r |d Id 

1, A :l. A H. :l. 



Arr. from MENDELSSOHN. 
T. F. SEWAED. 



n It, .,d 


1| IS6i.li 


t, 


NI fi .,fi 


n, In,.n 


m. 


Stars shining bright Over 
Kobes ev -ery tree With its 


aeir 

sil 


d Ir .,r 


d Ir .d 


t, 


li li .,li Hi :t i .li 


se, 



t, 


Ini 


H. : 




m. 


In, 


|m, I 




field 


and 


flow'r; 




nil - 


very 


light; 


i 


t, 


In 


Id : 




S6, 


in. 


H, : 





FINE. 



n 


:t. 


.,d 


1, 


:se,.l| 


t, 


In ( 


1, : 


. 


PI, 


:f. 


.,fi 


n. 


Ini.n, 


n. 


In, 


n 


, 


Fill 

Leave 


all 
in 


the air, 
its dark - 


Like a 

ness The 


fra - 
si - 


grant bower. 
lent night. 


d 


Ir 


-,r 


d 


Ir ,d 


t, 


In 


d I 


. 


1, 


:l, 


A H. 


:t, A 


se. 


In, 


H. : 


. 



.d 
.1, 

No 

.n 
1, 



r .n If .r | n ,r Id .d 

t, .d Ir ,t. Id .d Id .d 

glare of day can equal thee, Thou 

s .s Is .s |s .f In .m 



r .n If .r |n.r Id .n 
t,.d Ir .t, |d ,d Id . 

dark and silent mystery; What 

s .s Is ,s Is .f In .s 

S|.S| IS, ( S| |S| .8) IS, . 



r .d It) .r | d .t, Il| .d 

marvels are beneath thee hid, O 

f .nlr S |n.r Id .n 



t, ,1| Ise,.t, | n I 

I |se, I- 

thou mysteriouH night! 

r ,d It| ,t, |t| I 



122 



FIFTH STEP. 



MARIE MASON. 


WHEN THE LEAVES ARE FALLING FAST. 


300 


. KEY G. 


Lah is E. 


Tenderly and softly. M. 96. 


T. F. SEWAKD. 


PI :- . 


nil. Id 




PI : 


-.f 


m 




: i 


' :-.f |f :f 


f :n :- 


PI J-.P1 1, 


:d 


1. :-. 


l. 1. :l 




li 


- J| 


1. 




: l 


i :-.lii 


1, :l 


se, iSc 


I :-.!, 1, 


li 


. When the leaves are 
2 Soft - ly comes the 
5. As the years are 


fall - ing 
thought of 
pass - ing 


fast, : 
home, 1 
on, S 


Hid the for - est 
[ome we prized so 
wift - ly, swift - ly 


shad -ows, 
dear - ly ; < 
pass- ing, 


kVhen the Sum-mer 
)n - ly once in 
ifem - 'ry brings the 


d :-. 


d d :d 




d : 


-.r 


d 




: i 


'* i* 

! 


r :r 


ti :t, - :- 


J j ,d d 


:d 


i. :- 


f PI :- 




ti : 


-.t, 


PI 


: ] 
:r ( 


1 :l, 


r, .r, 


m, :n, - :- ] 


^ ^^. 
r :-.f ^ 


. 


1 :-.l s :d 


l, :-.l l, :- 


se, : 


-.S6| 


|se, 


:se, 1 


i li 


: 


d :-.d|d :d 


t :-.s,|si 


; 


days ar n-i^t 
life sh 11 c > lie 
ble.ss - in.;* ^n;: . 


Drear 
That 

All 


- y 
dear 
our 


are the i 
word so i 
path - way t 


leadows; 
ear - ly. 
rac - ing. 




Sor - rnw creeps up - < 
Home wheiv sun-shine < 
Tears may fall, an 1 1 


m the heart, 
somes un-sought, 
learts grow sore, 


d :-. 


r d :- 




PI : 


-.PI 


PI 


IPI i 


n ZPI 


: 


f :-.f PI :m - 


r :-.t, d 


: 


l. :- 


l I :- 




m : 


-.m 


PI 


1 


ipii ] 


1 *1| 


: 


f, :-.!, d :d 


s, j- ,S| d 


: 


t, :-.t 


m :r 


d : .r 


n i 






1 :-.! 


s :d 


f :-.f 


i : 1| t-.ti|d :t 


ti :l, 


; 


se,:-.se 


i se, :t. 


li :--.t. 


d : 






d :-.d 


d :d 


LI i~t8||8| . 1| ,1| 1 1| .S6| S6, .1| 



~ 


Toy we feel too 
Home wh.-re kindness 
Joys de- pa. t- ed 


-oon depart; 
lives nnlxmght, 
coin : no more, 


Then the ten-der 
Home where first the 
Till we gain the 


t> ar-dro >s start. Tears a -mid the shadows, 
niotli -er taught Le>;- sons loved so dear-ly. 
fiir-tiier shore. O'er the riv - er pass-ing. 


PI I -.PI 


m :m 


PI :-.m 


m : 






f :-.f 


n In 


r :-.t, d :- f : .f m :r 


r :d 


- : 


m :-,PI 


n,:n, 


1, :-J, 


1, : 






f, :-,li 


d :d 


8, I-,S| 1 


1 ; f, :-,r, PI, ;p 


i, PI, :l. 


- : 


CHARLES WESLEY. 
:*01. KEY Bb. 


Lah is 0. 


ASTON. S. M. 


JOHN HEYWOOD. 


:d 


t, :1| 


\l\ 


se. 




1 


: 





is, s, :PI r :t| 


d :- 





:PI, 


ri :HI 




f 


:m, 




PI 


i : 





:fi PI, :s, |f, :r. 


PI, : 





l.A 
2. To 
3. Help 


jharge to 
?erve the 
ne to 


keep 
pres - 
watch 


i 

ent 
and 




have, 
pray, 


A (rod to glo - ri 
My call - ing to ful 
And on Thy - self re - 


fll: 




1| 


se, :1| 


] 


r ! 


t| 




d 


: 





'r d Id |1, is. 


S| 





ill 


t a :d. 


T| 


in, 




1 


, 





it d id |f, Is, 


d, :- 





:d 


t, :l, 




l 


;l. 




s, :f 


H| 


ln : m Id |t, !86| 


1 :- 





:PI, 


PI, Id| 




m. 


:PI, 




r, ir 


d, 


i ~ i f 
.r a, .Pi, I .p), 


PI, :- 





As - 


aev - or 
may it 
sured, if 


- dv - 
all 

I 


ing 
my 
my 




soul to 
j)owers en 
trust be 


save, 
- gage 
- tray, 


And fit it for the 
To do my mas - ter's 
I shall for ev - er 


sk v ; 
wi'll. 
die. 




:s. 


si :1, 


d :d 


8 


1 *8| 


B| 


86, 1, 11 t. It 


d ',- 





:d. 


n, :f. 


d, 


:l a 




t a tt 2 


14 


it 1 il 1 r, !PI, 


1, :- 






FIFTH STEP. 



123 



T. F. S. 



KEYB|?. LahisO. 



WHY WAILETH THE WIND? 



T. F. SEWAKD, by per. 



:PI ( 


n :- .r 


:d 


d :-.t : 


li se,.l| It, .'ni| 


1, .t, :d 


'HI 


PI :- 


.r :d 


:pii 


H| l- .S6| 


:li 


li :- .n, : 


pii pi| JPI, JPI, 


PI, In, 


'HI 


PI, :- 


.se,:l. 


l.Why 
2. Why 
D.C. Why 


wail - eth the 
lin - ger the 
wail - eth the 


wind thro' the tree - tops so 
clouds in the sun's part - ing 
wind thro' the tree - tops so 


sad - ly, 
lo - ry, 
sad - ly, 


Why 
Why 

Why 


sigh - 

mill 
sigh - 


eth the 
gle their 
eth the 


:PJ, 


d :- .t 
1, :- J, 


* 


PI :- .r : 

l s :-JL : 


d t| .d :r :m j* 


d .t, :l, 


;J 


d :- 


t, :l, 


1 2 PI, :m, :n, 


1 2 :1 2 










FINE.^ 








(' 


- .t, :l, 
.- ,pi|ipi| 


se,a. 


:n, :n! 


1. :- 

PI, :- 


S| 


j :- .f 

3, :- .t 


:n 
:d 


PI :- 
d :- 


.r :d 

.s, :s. 


n, 


' zeph 
< shade 
j zeph 


yr so 
with the 
yr so 


mourn - fill - ly 
bright- ness be 
mourn - ful - ly 


now? 
low? 
now? 


Their 
Their 


nu - sic, though 
ight, though as 


sweet 
soft 


as the 
as the 


( Pi ! 


- jr :d 


t, .d 


:r :PI 


d :- 


S| 


PI !- ,r 


:d 


s :- 


.f in 


f 1 2 :- a 2 :l, 


PI, 


:n, :m. 


1 2 - 


s. 


i :- .d 


:d, 


d, :- 


.d, Id, 
















D.C. 


t, .d :r Is, 


i ,r IP 


i :si s 


:- .f :n 


m :- 


.r :d 


t, .r :d :t. 


1. :- 


S| ' 


5, is. 


s :s is, s 


:- .t, :d 


d :- 


.si :s. 


f, :1, :se. 


1, ' 


vvhis- per of 
smile of a 


\n - gels. Yet te 
ov'd one, Yet s] 


11s me the 
>eaks to my 


tale 
heart 


of a 
of a 


grief long a - 
grief long a - 


g- 
go- 


r .PI :f Is S 


n j* :d :si PI 


:- .r :d 


s :- 


f m 


r .f :PI :r 


d :- 


s~ : 


3, :s, 


P :d 


Is, d 


i * * Cl i Ci i 

1 **! ** I 


d, :- 


.d, :d. 


f, jj I PI i I PI i 


1 



ENNERDALE. 



J3O3. KEY F. Passing Modulation to Relative Minor. 

( 


C. STEGGALL. 




m :d 


1, :r 


t, :- 


:d 


li .t, :d |f :pi .r 


m : 





:t, 


d ls\ 


fi :li 


s, : 


:s. 


f, :s, |l, :t. 


d :- 





il.Come, 


we that love the 


Lord, And 


let our joys be 


known; 




<2.Let 


those re - fuse to 


sing That 


iiev - er knew our 


God; 




3. Then 


let our songs a - 


bound, And 


ev - ery tear be 


dry; 




[: 


s JPI |d :f 


r : 


:m 


d :m 


1 IB 


s :- h- 


:s, 


d Jpi| 


f, :r, 


s, : 


:n, 


f _ i 

t, . n , | 


r, :s, 


d, :- I- 


:m 


n :- .r |d :m 


1 :f 


r :s 


d.r :m 


r :r 


d : 





^i 


se, :1| ,t, |d :t. 


1, :r |t, :d 


1, :d |d :t. 


d :- 





Join 


in a sone of 


sweet ac - cord, And 


thus sur - round the 


throne. 




Hut 


fav' - rites 


of the 


heavenly King May 


speak their joys a - 


broad. 




We're 


march -ing thro' Im - 


manuel's ground To 


fair - er worlds on 


high. 




:d 


PI :m 


PI IPl 


f :l 


s ts 


m :s 


s :- .f 


m : 





:l. 


m, :ba,.se 


H, :s, 


f, :r, |s, :n. 


1, i PI 1 .fl 


S| IS| 


d, :- 


I- 



124 



FIFTH STEP. 



SAD MEMORIES. 



CARRIE COVINOTON. 








3O^t. KEY D. 




MABTC. 


Si-.v, AKI>, by per. 


Fai - ry - like, fai - ry - like, 








s :- .f in is :- jf in 


t It 


Ir 1 


d 1 I Is 


f 


If If 


1 


If ir 


inj- :d 


Inj Id 


f If 


If 


n I In 


d 


Id :d 


d 


Id Id 


1. Fairy - like, 
2. Grace- fully, 


fairy - like, 
grace-fully, 


o - ver 
down in 


my 
you 


spir - it, 
mead - ow, 


Steal -eth re - 
Beud-eth the 


membnince of 
wil - low - bough 


.'s .s :s 


Is .s Is 


s Is 


Is 


s I- Id 1 


1 


ll ll 


f 


n :f 


:d.d :d 


id ,d Id 


S| IS, 


ill 


d I- Id 


d 


Id Id 


d 


Id Id 


Ten - der - ly, ten - der-ly, 


n :r :d 


s I I 


S I- .f 


In 


s I - .f I n 


t 


it lr> 


d 1 


is :n 


d :d :d 


t, I- I- 


Ipi.r 


Id 


In.r Id 


f 


if If 


n 


In id 


hap - pi - er 


hours; 


Ten-der-lv. 


ten-der-ly. 


e'en 


as the 


fragrance, Of 


o - ver each 


grave; 


Bliglite 


1 and 


withered lie 


all 


the fair 


flowers, All 


s :f :n 


r I- : 


Is .s 


Is 


IS .8 IS 


S 


Is Is. 


S 


Id' Is 


d :d :d 


s, i- :- 


Id .d Id 


Id.d Id 


l 


IS, IS, 


d 


Id Id 




Beau 


ti-ful, beau - ti - ful, 


r :PI :f 


s In Id 


PI I- 


Ir 


d I- I- 


n 


I - .r Id 


n 


I- j Id 


d :d :d 


d Id Id 


d I- 


It, 


d I- I- 




Id .t, 11, 




Id ,t, ll, 


sweet scent - ed, 


fad - ed, au - 


turn 


nal 


flowers; 




Beauti-ful, 




beauti - ful, 


tbat 1 most 


cherished but 


could 


not 


save. 




Des o - late, 




des- o- late, 


1 :s :f 


PI IS I PI 


a 


If 


n I I 




:l J :l 




ll J ll 


f. i 
J * s l "I 


S, IS, IS, 


s, :- 


:s, 


d :- :- 




:l. a, :l, 




:l, J, :l, 








Si - lent - ly, 


PI ll Id 1 t In I PI I-.nln 


d 1 It 11 s Ife 11 


s I I 


s i-.f :n 


( d Id :m r :r : d :- .d :d 


n Ir In r Ir Ir 


f 
r 


In.r Id 


i all were my loved ones, Pur - er tlian 


lil - ies my blossoms now 


sleep; 


Si-lent-ly, 


\ now is tin; hearth-stone, Drear are the 


halls which re - een-oed with 


glee; 


Weari-ly, 


i 1 :1 :1 se :t : d 1 :- .d':d' 


d 1 Ir Id 1 t II Id 1 


t I- I- 


a a *a 

O iB S 


* li il, il| n i PI i lj i- .1, il| 


1, It Id r Ir Ir 


s, ;- :- 


:d.d:d 


si - lent-ly , 








. s :-.f :m t :t :r' d 1 :s :PI 


r In If s In Id 


n I Ir 


d i- :- 


:m.r :d f :f :f n :n :d 


d Id Id d Id Id 


d I- It 


d : :- 


si lently, like fall - ing snow-flak'-s.They 


left me in sor-row n - 


lone to 


weep. 


weari-ly, >asseth tlie line hours Of 


wait-ing be - lov- ed to 


come to 


thee, 


Is .s Is s '.s la s :d' :s 


1 Is If n Is In 


a t_ .f 

8 t 1 


n I- : 


Id ,d ;d S| IS| Is, d Id Id 


Is, II, s, IS) Is, 


8, I IS, 


d : :- 



FIFTH STEP. 



125 



HOME RETURNING. 



&O^3. KEY D. With strong accent. Extended modulation to Relative Minor. T. F. SEVTAKD. 


. d ,,m Is II 


s .,f Ir 1 :- 


r ,,PI If II 


s ,,PI Id' I 


d ,,m Is II 


(d.,dlm If 


m ,,r If I 


t,.,dlr If 


m,,d In I 


d.,d IPI If 


j l.Home return -ing 
12. Other lands have 


from a-far, 
treasure vast, 


Heart with joy up - 
Home alone has 


lift-ed high, 
love to share, 


Binder see the 
>Io'.v Tor-get - ting 




c a *S * 


S .,S IS It 


d'.,d'ls I- 


n ,,s Id 1 Id 1 


4 .,'d Id :d 


S t,S S t^~ 


s,.,s, :, :., 


d .,d Id I- 


d .,d Id Id 


s .,f:r' : 


Ir 1 ,,d It Is |1 ,,t Id 1 I 




pi.,relm II 


t .,d' II :- 


m v 'f * 


f .,PI Ir It, 


d .,r IPI I 


d .,d Id Id 


r .,PI Id I 


guiding star, 
dl the past, 


O what pleas - ure 
[u the joy that 


draweth nigh; 
waits me there; 


Long I've wandered 
Mii-ny years have 


-<ad ai.d lone, 
pas.^'d a-way, 


S ,,S IS I 


s ,,s Is Is 


s ,,s Is I 


1 .,1 II II 


se.,sell I 


S ,,SlS I 


S ,S S iS 


s ,,s Id I 


1, .,1, 11, 11 


PI., PI II, I 


ores. 


PI ,,relm II 


d 1 .,1 It I- 


m.,relm II 


t.,d':l : 


1 .,sell Id' 


d .,d Id Id 


PI ,,PI In I 


d .,d Id Id 


r ,,m Id I 


f .,f If If 


Home and dear ones 
\Veary years they've 


fur it - way, 
;>een to me, 


From my In art all 
\Vviiting for this 


hope hath flown, 
happy day, 


Welc me now this 
Home bclov - ed 


1 .,1 II . Il 


1 .,1 Ise I- 


1 .,1 II II 


se.,sell I 


d 1 .,t Id 1 II 


1, !, :l, :l. 


li ,,d IPI I 


1, .,1, :l, :l, 


pi,,m II I 


f .,f If If 


t .,i in' :- 


n'.,r Id 1 Is 


s .,f Ir 1 I- 


r 1 .,d'It Ir 


1 .,s IPI : 


1 re.,re I PI I 


s ,,f In IPI 


m .,r If I 


f ,,PI Ir It 


t| ,,t| Id I 


J Uip-py day; 
(' io\v I sea; 


Home return - ing, 
Home. &c. 


from a-far, 


Hearts with joy up - 


lift ed high, 


1 .,1 Ise I 


d'.jdld 1 Id 1 


s ,,s Is I 


s .,s Is Is 


SO * O * 
O 


f ,,f IPI I 


d ,,d Id Id 


s .,s Is I 


S| ,,S| IS| IS| 


Si ..Si Id I 


/ m' .,r' Id' is s ,,f Ir' I- r' .,d' It Is 1 .,' '<*' I- 


\s .,f in IPI rn ,,r If I f .,N Ir It, d .,r Ini I- 


, Yonder see (he guiding star, O what pleas - ure draweth nigh. 


1 d 1 ,,d' Id 1 Id' s .,s Is I s .,s Is Is s .,s Is : 


d ,,d Id Id s ,,s is I s ,,s Is Is B .,s Id I 



126 



FIFTH STEP. 



HURRAH! WELCOME THE DAY. 



:*o<; 


. K..yl>|7. IVHh v]>irit. M. 112, twice. (Cadence modulation to Relative Minor.) HUBERT P. MAIN, by per. 


:s s 


: : 


m :d :m s : : : :d' 


d 1 :s :m s : 


:f n : : 


v IB 


:s s 


t 


PI :d :m s : : : :PI 


n !PI !d n ' 


:r d ^ : 


I Is , 


1 Hur rah ! 


welcome tl e day, Tra 


la la la l-i 


la la! 


A- 


<'2.llor rah! 


mer - ry are we, Tra 


la la la la 


la la! 


The 


J3.A- way, 


hunters, a - way ! Tra 


a la la la 


la la ! 


We'll 


[IB s 


; : 


n Id JPI s t ' I Is 


s :s is s '. 


:s s : : 


- : :s 


's s 

o o 


: : 


PI :d :m s : : : :d 


d :d :d |s, : 


s, d :- :- 


: :s 






A>.t. 






f.Db. 


i s : 


: PI : 


d :n 


s : : : : m l\ s 


i :d :PI PI : :r 


d :- :- - 


- : : d s 




: PI : 


d PI 


s : : : : d f, r 


ii :PI, is, S| : :f, 


n, : : 


- : ^.n 


1 wav, 


1 1 


ns a - 


way ! Tra 1 


i a la la 1: 


i la! 


We'U 


< stag 


yon - 


ler we 


see, Tra 1 


i la la la h 


i la! 


Then 


soon 


cap-In ro the 


>rey, Tra 1 


i la la la h 


i a! 


Then 


(s :- 


: PI : 


d :m 


s : : : : s d (3 


i :d :d t, : :t, 


d : : 


- :- : d s 


s : 


: m : 


d In 


s : : : : d f, s 


, :s, :s, s, :- :s, 


d| '. '. - 


- :- : d s 






rrf.9. t 






t 


1 ; 


IB 1 : 


it 


d 1 : :r' PI' : :s ] 


: IB l : :t 


d' : : 


\ : IB \ 


( f ! ~ 


:f f : 


- :f 


PI : :m n : :n l 


? :- :f f : :f 


m : : i 


n : In ) 


' climb 


to yi n 


der 


rock - y steep. Our / 


U - pine song re 


>eat - - ing. While f 


/ gai - - 


Iv on 


whiln 


s tear and lance In i 


nom - ing's light an 


} gleam - ing; No ) 


j .4 't!' - 


er'd safe 


\\itli 


friends at home, Our 


il - pine song re 


peat - - ing; The ( 


/ 1 :- 


:t js : 


:s 


s : is s i :d' 1 


; : :t s : :s 


s :- :- |d' :- :d' ) 


* s : 


:s s, : 


- :s, 


d : :d d : :d s 


i : :s |si : :s 


d : :- |d : :d ' 


t rail 


1 * ' 


Is 1 


:- :t 


d : :r' | PI' : :m 


PI : :1 t :d' 


:t 1 : 


- 1 I 


f : - 


:f f 


:- :f 


PI : :n PI : :r 


d : :d r :n 


:r d : 


_ > 


} far 


and clear 


the 


l)ii - gle's note Witl 


joy our ear 


shall greet. 




(' fail t - 


ing heart 


nor 


flag - ging steed, Till 


ro - - sy eve 


shall beam. 




i gen - 


tie tones 


We 


dear - ly love, \Vitl 


joy our ear 


will greet. 




t :- 


:t s 


: :s 


s : :s s : :se 


1 :- :l se :- 


:se 1 : 


J J 


1 s :- 


.'S S| 


:- :s, 


d : :d d : :t 


1 : :l, PI :- 


- :m 1, : - 


- : : 


CHORUS. 


:s s 





n :d :PI rf : : ; : 


d d 1 is :PI s :- 


- :f n : :- 


* 


:s s 


: : 


PI id I PI s ' I : ! 


n n *n Id n I- 


- :r d : :- 


j 


Hur- ral 


! wel - come the ,lay. Trn la la la la 


la la 




:s s 





PI Jd In s '. '. ! I 


s s is is s : 


- :s s : :- 


' 


IS 8 




~~~ ~~ 


m :d :m s : : : :d d :d :d s, :- 


- :s, d : :- 


i t 



FIFTH STEP. 



127 



.'s 

A - 


=> 
1 :- 
f : 

way 


1 4. t 

|t 

f If. . 
- . |I . - . 

A 


d' I I It 11 


PI In Is 

way to the 


t 
r' : :t 

f : :f 

hills, a - 


d I I 
m I I- 

way ! 


/TN 


n I I 1 Is If 


way ! A 


id 1 

:m 


d 1 i- 


- : s 







s I I 1 It Id 


1 d 1 Id Id 1 


t : :s 

8, - Is, 


S* 


d I I 


I 


d I I f I If s Is Is 


THE SONG OF THE OLD BELL. 


r&OT'. KEY B i?. 


With steady movement. 


:s, ,,s. 


d 


:d .,d < 


1 IPI,, 


,f. 


S|.s,IS| d, Id ; .,r 


m, II .,1, s 


,s. Id t, I 


Is, .,8, 


:s, ,,s. 


d 


:d ,,d ( 


1 In . 


f| 


s, .s, Is, d, Icli,,r 


PI, If ,,f, JS, 


.3, :m, r, : 


IS) .,S, 


T was 

{2 S-xtons. 

H so i 


hung in my pl;ice when tin 
live, who haveserv'd here have 
watch from my tow'r as the 


vidage was young, And tin 
n-ged and died, And th 
pageant moves by, With its 


ions - es were scattete 1 and few; 
sixih is row tugging at me, 
joys and its so r rows and fears; 


In the 
But he'll 
And its 


f is, ,,s 


d 


Id ,,d | d In,, 


A 


S, .S, IS, d| Id|.,rj 


PI, Id ,,d d 


.d Is, s, I 


IS, ,,S| 


:s, .,s, 


d 


Id ..d ( 


i In, 


A 


s, ( s, Is, el, Id,.,r 


PI, If ,,f, pi|.Pi,!d, s, I 


:s, .,B, 














CHORUS. 




/ d * 


d.,d 


d ini|., 


'\ S, ,S|IS 




d, Id,.,r, 


m, :1|.,1| s 


.8) it, d I- 


S| 


li II, 


d id 


d : 


d.,d 


d Inii., 


"i S| .8,18 




d, Id,.,r 


PI, :f|.,f, n 


,.piiif| PI, :- 


PI, 


f, If, 


S| IS, j 


] ol I dingy bel - fry fc 
/ soon be KO worn he'll I 
j all one to me in in 


r a-ges I've swung, Yefmy 
c hrsiled a - side, Making 
y solitude 1 i>_;h, If tin 


songis the sniiii- as when new. 
room for a younger than he. 
world is in gladness or tears. 


And 


so I sing Ding, > 


d : 


d t ,d 


d .ni|., 


f, s, .s,ls 


i 


d, !d|.,r, 


PI, Id.,d d 


.d Ir d I- 


- d 


d Id 


PI In 1 


U : 


d.,d 


|d . PI,., 


r i Q . Q , * Q 

L| O | o | o 


i 


d, Id,.,r, 


PI, :f,.,f| s 


,s. Is, d, I- 


- d, 


f, :f, 


d, Id, 


f, : 

dong. 


f 

dong 


d I PI, 

s, In, 

ding. Or 


d Id .t 

PI, Ipi,.f 

nt - ter n 


sol - emn 


1, :- - 

PI, :- - 

toll; 


Is, d Id d Ipi|.,f 
Is, d Id d Ini|.,f 

Ding, dong, dong. ding. Forth 


s, Is, 
s. Is, 

')tide I 


d, :d|.,r,\ 


d Id,.,rJ 


ring, Ding, > 


1 d : 


d 


PI In 


PI IPI 


r f\ *f 
.r u. i| 


d I- - 


Is, d Id 


di f 
. nii.,i 


s, Is, 


d Id^rj 


f, : 
i 


f 


id, :d, 
1, s, 


d. Id 


.r 

Din 

d 


PI, m. 


1 I- - 

Ding, 

- Id 


Is, d id 

doi rt 


di .C 
.Pii.,1 


Si IS, 


d ld|.,r, 




d I- 


I 


I 





i 


if, . 


,f, m. 


Ifi 


PI I 


If, 


pi lf| ,,f| 


Pi, if, 


PI, I- 





\ dong. 


for the puss - ing. 


soul. Ding, 


dong. for the pass - ing 


soul. 




) 
/ PI, 


Id . 


,d jd 


Is, 


s I 


*1, 


S, 11, .,1, 


s, 11 


S, I 





\ mi 


:f, . 


,fi s, 


:B, 


d I- 


Dine. 


d, I- 

done. . 


I 


I 






128 



FIFTH STEP. 



Transitional Modulation. 

t. KEY F. (First Hutrp minor.) C.t. Lah is A. 

s If |n I hi, Ise, II, Il|.t,|d It 



f.F. 



|n ir Id In 



n : re In :m.fe |s :fe I m : 



f In.r[d It, |d : 



3OO. KKYF. (First Flat minor.) f.BJ?. Lah in G. 



F.t. 



II 



n :r Id :n |s :f |n I- 



r l, Ise, 

r :de 



1, :J,.t,|d :t, il, : p-nin 

r :r .m f : in |n : 



|f ln.r|d It, |d :- 



r$lO. KEY G. (First Flat minor.) f.C. Lah is A. 

d -s, 1 is, |d :r |n :- H :t |d' :t 

| Ir : m If :n 



il 
11" ! 



G.t. 



II :se |1 : 

Ir :de ' ; 



n :r id :t| d :s. 



l, :t, Id :f In :r id : 



. KEY G. (First Shnrj) minor.) 



{ |< * 



II 



f.G. 



D.t. Lah is B. 



d Ir |n I pi It |d' It II Ise |1 : 

n : fe | s : fe In : re | m : 



s r :r |n :r Id It, |d :s, II, :t, |d If In Ir |d ! 



m. KEY G. (First Flat minor.) 

'd i id 's, : id it, :l, it, id : : |d : in |s : in |f .in ir id : : 



II 



f C. Lah is A. 

r l I- It Id 1 I- 



II Ise Iba Ise II 

: r | de : t, : de I r 



r I In |r : Id |t, :1, It, |d : 



I! 



31J$. KEY G. (First Sharp minor.) 

d I Id Is, I Id It, 11, It, Id I I 



D.t. Lah is B. 

"1 :~ It Id 1 I II Ise Iba Ise II I I 

n : : fe Is : : n I re : de : re ' n : : 



d I in is I In If In Ir 



fG. 

I In |r : :d 



d : 



FIFTH STEP. 
GRACE CHURCH. 



129 



314. KEY G. Extended Transitional Modulation to First Flat minor. 


PLEYEL, arr. 


n : :r 


d 


I 


- !t| 


d :- :r 


n : 





s 


: 


:f 


n : :r 


d :- 


- :t. 


d 




""' 


d : 


li 


s 


'.- 


- Jf| 


pii lfe\ ls\ 


s, :- 





d 


: 


- ti 


d :- :l 


s, :- 


- :s, 


8, 





i . Depth of 


mer 


- cy! 


cau there 


be 




M 


r 


- y 


still re - 


served 


for 


me? 


< 2 I 


have 


long 


with - 


stood His 


grace. 


Lonj. 


? pro - 


voked Him 


to 


His 


face ; 


, :{.Now iu - 


cline 


me 


to re - 


pent! 


Let 


me 


now my 


fall 


la - 


incut! 


( s :- :f 


m :- 


- :r 


d : :t. 


d :- 


: 


S 


: 


:s 


s : :f 


n : 


- :r 


PI 


> 
"-" ~ 


y d :- 


- :fi 


S| ' !S| 


1, : :s, 


d :- 


- i 


PI 


. 
t 


:r 


d :- :f 


s, :- 


- :s, 


d 


. 
~~ 


f C. Lah is A, 


G.t. 


i? : ~ :t 


d 


I ;_ 


- :t 


1 : :se 


1 :- 


. 


d'f 




:n 


1 : IB 


f ?~ 


1 :r 


d 


: : 




:r 


PI :- 


- :f 


m : :r 


d :- 


- : 


r si : 


- :d 


d : :d 


r :& :t. 


d 





Can 


my 


God 


His 


wrath for - 


bear? 




Me. 


the 


chi.-f of 


Sill - 


ners 


spare? 


' Would not 


heark 


- en 


to His 


calls; 




>.irieved Him 


by a 


thous 


- and 


falls. 


Now 


my 


foul 


re - 


volt de - 


plore ! 




Weep, be - 


lieve, and 


sin 


no 


more. 


f r l : :se 


1 


IP! 


:r' 


d 1 :- :t 


1 :- 


- : 


!r 


: :s 


f : IB 


1 :s 


:f 


m 


. . 
. . 


f ,d :- 


- :t| 


1 


I 


- :r 


PI : :PI 


1 :- 


- : 


&t 


; 


:d 


ft . , 

I, . .PI, 


f, IB 


i :s . 


d 


. . 
. t 








O 


PARADISE ! 


3 IS. KEY El?. Extended Transitional Modulation to First Sharp minor. 


JOSEPH BARNS*. 


:m 


f :-.PI 


PI 


:PI 


r* r* 

s :- .f f :PI 


r :d 


r 


:f 


n : : n l. 


1, :-J, |sei :1, ^ 


:d 


d :-.d 


d 


:d 


d :- .d d :d 


t :d 


d :t. 


d 1 I^TI 


pii :-.pi. 


I_ ._ 
pii .HI i 


1.0 


Par - a - 


dise! O 


Par - a-dise! Who 


dot'i not crave for 


rest ? Who 


would not 


seek the V 


2.0 


Par - a - 


dise! 


P.ir - a-dis.-! We're 


ook- ing, wait - ing 


here; We 


long to 


be where * 


f' S 


1 :-.s 


S 


:d' 


t :-.! 1 IB 


f :n 


1 


IB 


s : : ft ti 


d :-.d 


t, :d 


*:d 


d :-.d 


d 


:d 


d :-.d d :d 


s, :1 


P 


d :- |- :df, 


pii '- .HI 


m, :l, ; 


f.EJ?. Where 


loy - al hearts and true, 


BJU. 




t, : 


-.till, :d 


d :l |ti :r d s : _ 


:s 




d 1 :s |t :1 s : 


: s d 


t, :r 


PI, : 


-,P1|| Pl| JfC| 


si :pi| |f| :f| n .t| : 


:t| 




d :- 


t, :d r :t. 


d J s id| 


f. :f, 


hap 


- py land Where 


ihoy.th'at loved, are b^st? 


Where 


loy al hearts 'and true Stand 


ev - er 


Je - 


sue is, To 




feel, and see Him near. 












r : 


-,r|d :r 


PI :d r :t, d s : 


:s 




s I 


f : f :f 


m : m l 


1, :1, 


Be,:- 


-.se,| 1, :l 


, 


si :s, s, :s, d s :- 


:f 




m : 


r :d t :s, 


d Jt.mi 


r , :t, 



f.Elz. 



Id :t, 


d s : 


s : 


I. 
PI, .PI, 


".t, : |t, : 


in the 


light, All 


186) *.r 


*s : 


f : 


I pit In, 


^n : 


r* 




d 1 :m |t :l 
d :d |d :d 

rapt-ure through auil 

PI :s \B :f 
d :d |f, :f, 



s :m d :f 
t, :t, |d :d 

thro'. In Gods's most 

r :s |m :f 

S| Is, |1, Ir 



r :- - :r 


d : 


d ' |t, I 


d : 


ho - ly 


sight. 


s :r |f :- 


n : 


BI : Is, :- 


d : 



130 



FIFTH STEP. 
EVENTIDE. 



316. KEY lib. Cadence Transilional Modulation to First Flat minor. 


W. 


H. MONK. 


PI I PI Ir 


d 


I s 


i 


1 Is 


s If 




n i 


I 


PI 


t -I 


f Is 


d I- |t. It; 


d 


:- |d :- 


d It, 


d Ir 




d I- 


I 


d 


I 


d Id 


l.A - - bide with 
2. Swift to its 
3.1 need Thy 


me! 
close 
pres 


fast 
ebbs 
ence 


falls the e - ven 
out life's lit - tie 
ev - ery pass - ing 




tide; 
day; 
hour; 




The dark - ness 
Earth's joys f row 
What but Thy 


S I- S If 


PI 


I- |d I- 


d Is 


s Is 




S 
""~" 


: 


8 


I 


f IPI 


d I s, IS| 
1 I s I 


f 


I P 

Ir P 


ii : 
i :fe 


f _ 

f, .s, 

s : 


1, It, 




d : 
m i 


PI Ir 


d 


It, 


s I 


d 


._ 


d I- d I- 


d 


Ir d 


i id 


t, :- 


- I 




d I- 


t, :t, 


d 


I 


d I 


deep - - ens; 
dim, its 
grace can 


Lord 
glo - 
foil 


with me a - 
ries pass a - 
the tempt-er's 


bide ! 
way 
power? 




When 
Change 
Who, 


oth - er 
and de - 
like Thy - 


help - - ere 
cay in 
self, my 


f I- PI I- 

f, :- Id :- 


1 

r 


IS S 

:t, |d 


id 


r I 

s, I 


I 




n If 


S If 

|s, *s, 


PI 
1. 


I 


d' :t 


d :- 


n, :- 


, s if f In r I 


- :- 


r I 


PI If 


PI Ir 


d If P 


l I r I 


d I 


i 


1 d Id |de Ide r I- 


i 


t, I- |d It, 


d It, 


d Ir d 


I- t, I- 


d I- 


i 


fail, and corn-forts flee, 
i all a - round I see; 
guide and stay can be? 




Help of the 
() Thou Who 
Through cloud and 


helpless, O a - b 
chang - est not, b 
sunshine, Lord, a - b 


ide with 
ide with 
ide with 


me ! 
me. 
me. 




(in i is f : 


- i 


s I- 


s Is 


S If 


PI II S 


. .f 

t 1 


n :- 


i 


\ f, :-.s,|i, :i, r i- 


: 


f I 


pi Ir 


d Is, 


1, If, s 


1 S| I 


d I- 


i 



5^1 T'. 



ST. CECILIA. 

KEY E. Passing Transitional Modulation to First Flat minor. 



R R. CHOPE. 



/In 


S If 


m If 


T* * 


m in 


d 1 It 


1 :l 


s I 





:a 

ll.The 
<2.The 
J3.Be - 


d It, 

year is t 
ev - er - ( 
hold the 1 


d Id 

wift - ly 
;hang - ing 
;end - ing 


d It, 


d Id 


d Ir 

sum - mer 
si - lence 
bouu-teous 


PI Ir .d 


t, :- 

past; 
go; 
crowned; 




wan - - ing; The 
seas - - ons In 
orch - - ards With 


days are 
come and 
fruit are 


fe 


s Is 
PI Ir 


S 11 

d If, 


s :- 

s, :- 


s Is 
d Id 


s .fels 


s Ife 
d Ir 


S I- 

si : 


- 


li It, 





f In 


r Id 


t, I- |d Ir 


n If 


r It, 


d I 





Ide 


r Ide 


r Il| 


s, :- 


d Is, 


si :f, |1, is. 


s, I- 





And 
But 
'Lord, 


life, brief life is 
Thou e - - ter - nal 
in our hearts more 


speed - 
Fa 
rich - 


ing; The 
ther, No 
ly Let 


end is near - ing 
time nor change canst 
heaven-ly fruits a - - 


fast, 
know, 
bound. 


IS 
o 

li 


f IS 

r In 


1 If 
f Ir 


r If 


n Ir 


d Id 
d 11, 


f Ir .f 


n I 
d I 





s, I 


|f. Is, 



FIFTH STEP. 
IN THE HOUR OF TRIAL. 



131 



_ A.A.1 -. AAA^ *.M. XX V JL. H.X A' -- A VA^Tfc.A-/ 

31, KEY P. 


J. B. DYKES. 


d Id 




r In 


f :- 


- n 


I 


n in 


r id 




t, I- 




1- 






d 


Id 


r In 


s. Id 




d Id 


d :- 


- Id 




i^~ 


j v i |i , 




8, I- 











S| 


Id 


d Id 


l.In the 


hour of 


tri 


al, 




Je - sus pray for 




me; 








Lest, by base de - 


2. If with 




sore af - 


flic - 


tion 


Thou in love chas 


_ 


tise, 








Pour Thy ben - e - 


3. When my lamp low 


burn 


ing 




Sinks in mor - tal 




pain; 








Earth to earth re - 


n In 




|f Is 


1 I- 


- S 


I 


s is |f In 




r I- 








t 


n 


I n 


f Is 


d Id 




d Id 


d I- 


- Id 






n. In, |f. Id 




8, I- 







I 


d 


Id id Id 


f :- 




n : 


n In 


re 


Ire 


n I 


j 




s Is 




S 


:n 


f 






r I 


d 11, 


Id I- 


d Id 


|t| 


It, 


t, I- 


I 




n Ir 


|de Ide 


r 


Id jt, I- 


ni 




al, 


I de 


- part 


from 


Thee. 




When thou 


seest 


me 


wav - er, 


die 


tion 


On the 


sac 


- ri - 


fice. 




Free- ly 


on Thine 


al 


tar 


turn 


ing, 


Dust to 


dust 


a - 


gain; 




On Thy 


truth 


re - 


ly - ing, 


1 If 




s : 


fe Ife 


fe 


II 


o 


: 




t It 


|1 11 


1 


: 


s If 


d I 


|d :- 


1. 11. 


It, 


It, 


n I- 


: 




n IP 


i 


111 


11. 


r 


I- Is, I- 


n In 


r 


id t, : 


j 


d Id |r In 


f :- 


n I 


n 


Id 


r I-.d 


d I 


I 


d Id 


li 


:l, s, :- - 


I 


s, Is, |S| Id 


d I 


d I 


d 


Id 


d It 


d I- 


I 


With a look re - call; 


Nor for fear or 


fa - vor 


Suf-fer 


me to 


fall. 




I will 


lay my will, 


And tho' flesh may 


fal 


ter, 


Bless and praise Thee 


still. 




In that hour of strife, 


Je - sus, take me, 


dy - 


ing, 


To 


e - ter - nal 


life. 




n Is 


If 


In r I 


I 


n In |f Is 


1 : 


S I 


S 


in 


r If 


n I 


I 


d Id 


If, 


:f, s, ; 


I 


d Id jt, Ita, 


l. :f. 


Id I- 


S| 


is. 


|S| IS, 


d I 






BATTISHILL. 
31O. KEY G. Cadence Transitional modulation to First Flat minor. 



s In 


r Id 


r Ir 


n I 


f In 1 Is 


f :n 


d Id |t. Id 


d It, |d I 


d Id |d Id 


t, id 


1. Children of the 


heaven-ly King, 


As we jour - ney, 


let us 


2. We are trav' - ling 


home to God, 


In the way our 


fa - the 


3. Lord! o - be - dient - 


ly we'll 


go, 


Glad - ly leav - ing 


all be 


n Is 


s In 


s Is 


s :- 


f Is |f In 


f IS 


d Id 


i Hi 


s, Is, 


d :- 


1. Id If, Id, 


r, In, 



ir 
It, 

sing: 

re trod ; 

low : 

Is 
.fi Is, 



s Im 


r Id 


r :n |f I 


1 Is |t. Id 


n Ir |d 


d Id |t. Id 


1, Ide 


r I 


t| Id |s. In, 


s, I- .fi 


n. 


Sing our 


Sav - iour's 


wor - thy praise, 


Glo-rious in His 


works and ways. 


They are 


hap - py 


now, and 


we 


Soon their hap - pi - 


ness shall 


see. 


Ou - ly Thou our 


lead - er 


be, 


And we still will 


fol - low 


Thee. 


s Is 


s In 


1 Is 


f I- 


r In |r Id 


d It, |d 


pii Id 


Is, 11, 


f _ 

I| . Pl| 


r, "" 


fi In, |s, Hi 


S) Is, Id, 



132 






mm 


STEP. 






DEXTEU SMITH. BROKEN THREADS. WM. MASON, Mns. Doc., by per. 


3\5O. KEY El?. 


B b. t, Ltih in 0. 


d Id 

1 S, IS, 

' i.As the 
( i. Weav-ing 
) 5. Weav-iug 
(t. Bra - ken 


d .t, 11 ,t, d 


Id r 


n, 

nd, 


"l. :l. 

Back and 
As the 
Ming-ling 
In each 


|1, .se,: bai.se, 1, 


:li It, :- 
Ipii n, I 

our eyes, 
ly play, 
the gloom, 
are found; 


S, IS, S, IS, 8, 

shut - tie swift - ly flies 
ev - - er day by day 
in life's bus - y looi 
threads in life a - bou 


PI, In, n, 

forth be - fore 
shut - ties hrisk - 
sun - shine with 
sta - tion they 


n : 


n 


r Ir n In f 


I 


"1, Ir 


|t. It, d Id r I- 


d : 


BI 


r Is, d 


IS| d 


.t, 11, .t, 


d fi. :r, 


n, In, 1, 


In, 1, ,se,lba,.se 




f.Eb. 




d Id < 


1 .r In.f 


n Ir i 

s, If, 

fiug-ers 1 
oft an - i 
deeds we 1 
frieud-ly 1 


1 I- 

ii - 

ight, 

>lend, 
land, 


ta.f ;f 


f .n Ir .d 


r Ir s I 
d.t,:l,.t d Ir.n 


f If |f.nlr.d 


n, Ita, |1, II, 

\ Blending with its 
/ Bro-k 'ii threads how 
x Warp and woof ol 
/ May Faith's kind and 


8 ,r It, |d Is, 

Warp and woof, till 
And our pro - cious 
Till life's fa - brie 
Hi-lp us to ad - 


r Ir |d is, 

In a fa - brie 
Warning us by 
Bro-keu threads we 
That, when life's last 


they u - uite ' 
time em - ploy; 
has an end ; 
just the strand; 


d Ir 
r Ir 


.n 

1 


f Id 

* X* 

i l| 

3 II .t 


d ,t, II, .t, ( 


1 I- 

[ :- 
[ .s If.n 


d s Is 

n j I n ,f 
d.t,Id .r 


s Is 
d in 

8 11 .t 


s Is s I 
s If f .n Ir .d 


s II .t d 1 Is .d 1 


s, Is, c 

d' :-.t I 

n .d Ir .PI 


t Is, d In 

n Ir |d I 
d It, |d :- 

weav-er's song, 
war j> and woof, 
no - ble mind, 
per - fe"t web. 


d I-.t |1 A If .n 


s. Is, 

\ good and 
/ sharp re 
1 oft - en 
/ ii ie f- mil 


3, If 


f .nlr .d 


n If 


n .dir .n |f .nlr ,d 


strong, 
proof, 
bind, 
ebb, 


Let us hear the 
We must watch the 
Bur - den - ing the 
There shall be a 


\\eav-er's 
warp and 
no - ble 
per - feet 


song, 
woof, 
mind, 
web, 


Let us hear the 
We must watch the 
Bur - den - ing the 
There shall be a 


( d 1 .t 11 


.t 


d Is 


s .n If .s 


1 11 
f If 

F] 


s Is 

S If 
ERNIEHU] 


S I 

n Ir 


s.nlf.8 f II 

d. AC f 
.-.d |l, .1, 


s If n I- 

8, is |d I 


s If 


n Ir 


d I .d 




RST. S. M. 


rSVJlo KEY F. Cadence Transitional modulation (o First Sharp minor. 


(* 


r 


In i 


r if 


n I- 


< 

1 


n n 


In 8 Ife 


n : 


id 


d 


Id 


d Ir 


d I- 


I 


n r 


id |t, :l, 


8, ~~~ 


(2. Not 
y3.Thy 


what 
what 
work 


these hands have 
I feel or 
a - lone, t) 


done 
do 
Christ, 


Can save 
Can Rive 
Can ease 


this guilt - y 
me peace with 
this weight of 


soul; 
God; 
sin; 


(id 


f 

d 


Is 

Id | 


1 It 
d Id 


d 1 I- 
d I- 


Is se 
Id t, 


II n In je 


n I- 
n I- 


:li It, it, 


In 


r 


:t, 


i 11 


s If 


n I 


n n 


Ir a Ir 


d :- - 


It, 


t, 


Is, i 


5, Id 


r It, 


d I 


ta, 1, 


11, |d It, 


d .~~ ~~~ 


Not 
Not 
Thy 


what this toil ing 
all my pray'rs, aud 
blood a - lone, () 


flesh has borne, Can make my spir - it 
sighs, and tears, Can hear my aw - fnl 
Lamb of God, Can K^ ve nie peace with - 


whole, 
load. 
in. 


Is 


S 


If 


n In 


s Is 


|s I 


S 8 


If PI If 


n I 


In 


f 


Ir 


n Il| 


t, Ir 


|d : 


de r 


Ir S| is. 


d I 



FIFTH STEP. 



13, 



THE HOMELAND. 



3SS. KEYEt?. A. 8. 


BtlLLIVAy. 


/ :d 


n 


Im 


H 


;] 


[ 


s : s 


if PI id 


d It, 


d I 





Id 


PI IPl |1 II 


fid 


d 


Id 




d 


id 


t, :- It, 


Ir d Is, 


8, IS, 


BI :- 





Id 


d Id 


|d Id 


jl.The 


Homeland! 


O 


the 


Home - land! The land of souls free - 


born! 


No glooii^ 


ni'ht is 


<2. My 


Lord is 


ill 


the 


Home - land, With an -gels bright and 


fair; 




No 


sin -ful thiii" nor 


3. For 


loved ones in 


the 


Home - land, Are wait-ing 


i- to 


come 


Where uei-ther death nor 


\:m 


S 


Is 


If 


IPl 


r I r 


Is s In 


I :f 


PI I 





Im 


s Is 


|f IPl 


Id 


d 


Id 


If. :f, 


BI - Is, 


It d Id 


s. Is, 


d I 





Id 


d Id 




f, IJ 


'l 


Bt?t. 


( 





Is 




If 




"1, It, 1, is 


e 1, I 




:1, ( 


I :-.d 


d 


Id 


t, :- 




m, I 


tl 


t, : 


: 


It, 




Ir 




d f. If, PI, Ir 


i, PI, I 




IPI, i 


1 X* 


m. 


Ire, 


PI, i 




PI, I 


se, 


known 


there, 


But 


aye the fade - 1( 


;ss morn ; 


I'm F 


igh - ing 


for 


that 


couu 




try, 


My 


<> e 


. 


vil 




Can 


ev - er en - t 


3r there; 


The i 


nu - sic 


of 


the 


ran 


soined 


Is 


sor 


- 


row 




In 


- 


vade their ho - 1 


y home: 


O ( 


lear, dear na - 


tive 


couu 




try! 


O 


r : 




Ir 




Is 




d Ir |d 11 


;, d I- 




Id 1 


I-.1, 


11, 


Hi 


t, I- 


It, I 


PI 


s, ! 




Is, 




It, 




d f, Ir, m, I 


i, 1. I- 




:l, 1 


I-.1, 


Hi 


:l, 


86, I- 


- |S6| I 


m, 














f.EJ?. 




















/ d : 


-.d r I PI 


d 


I I d S 


; Is t Il.s 


d 1 I 


S If 


n : 


d 


d Ir 


d 


I 


1 


l, : 


-J, 


f, 


If 




PI 


* pi ^ / 

"it 1 


1 id f :f.f 


n Id |ta,:l. 


s, I 


s, 


1, It, 


d 









1 h.-art 


is 


ach- 


ing 


here; There i 


s no pain in the 


Home - 


land To 


which I'm 


drawing 


near. 


( ring 


ing in 


my 


ears, And ^ 


vhen I think of the 


Home - 


land My 


eyes are wet with 


tears. 


i rest 


and 


peace a - 


bove ! Christ 


jring us all to the 


Home - 


land Of 


His 


e - 


tern - al 


love. 


f PI I-.P1 


t, It 




d 


: rr :s ' r ' 


n Is s Is.s 


S ~~~ 


d Id 


d I 


PI |f If 


PI 


I 





l, : 


-.1. 


B| 


s 




d, 


~*~ " 2J, | 


n, IPI r lJC,r 


d I 


n, If. 


s, I 


B, 


s, :s, 


d 








PETROX. 


J5S3. 


KEY El?. " 


Passing" Transitional Modulation to First Flat minor. 


W. BOYD. 


i PI 


Is 


If 


IPI 


w 


Id I- 


r 


in 


|f 11 




d 



~~ 


It, 


t 




\ m 


Ir 


Id 


Id 


t. :- 


Hi S- 


1 


Ide 


r I] 


i. 


BI 






Is, 


I 




; ..Lord, Thy word 


a - 


bid 


eth, 


And our 


foot - steps 


guid 


eth: 






\ 2. When our 


foes 


are 


near 


us, 


Then Thy 


word doth 


cheer 


us, 






Ho, 


that 


we 


dis - 


cern 


ing 


Its most 


ho - ly 


learn 


ing 






d' 


It 




1 




Is 


f 


n I 


1 


Is 


|f Ir 


PI 



~^~ 


r 


t 




( d 


Id 


Id 


Id 


s, I 


11, :- 


f 


IPI 


r If, 


B| 






Is. 







/ r 


In 


|f 11 


s I 


n J 


r 


Id 


|f In 


r 



^"~ 


Id 


:_ 




1 1, 


Ide 


r 




Ir 


r I 


Id I- 


t 


Id 


|d Id 


t. 






d 


I- 




i Who 


its 


truth 


be - 


liev 


eth 


Light and 


joy re - 


ceiv 


eth. 






< Word of 


con 


- so 


la 


tion, 


Mes - sage 


of sal - 


va 


- 


tion 






) Lord, may love 


and 


fear 


Thee, 


Ev - er - 


more be 


near Thee. 


f 


Is 




f 




Ife 


S I 


S I 


f IPl 


|1 Is 


f 



t"^* 1 


PI 


J 




\f 


:m 




r 


:d 


tj :- 


Id ;- 


S 


. *1| 


f, Id 


S| 



~ 


Id 


'- 





134 



FH-J.H STEP. 
THE LAST SLEEP. 



p 324:. 


KET D. Transitional Modulation, sharp and flat. 


ere*. 


J. BABNBT. 


d :- 


Id 


Id 


d I- 





1 




f :-.f 


n Ir 


r :- 




n : m : 


n In 


( s, :- 


Is, 


Is 


i 


1. :- 





I 




d I- .d 1 1, It, 


t :- 




d : r ;- 


r Ir 


U. Sleep 


thy last 


sleep, 








Free from care and 


sor - 


- 


row ; Best, 


where none 


/ 2. Life's 


dream is 


past, 








All its sin, its 


sad - 


- ness; Bright 


ly at 


j 3. Though 


we 


may 


mourn 








Those in life the 


dear 


- est, They 


shall re - 


/ PI I 


PI 


IPI 


n I- 





J 




1 I-J 


8 If 


f I- 




n : se : 


se Ise 


Id :- 


Id 


Id 


i. :- 





I 




fi :-.fi |s, is. 


8, I- 




d : t, :- 


t It, 










A.t. 


f.D. _===: :rr= 


, m i- 





I- 




1 Y I J 


d 


:t| 




t, ;- |d ; 


d s I- 


- 


8 S S ^~" 






d i- 





I- 




"li :-a, 


B6| 


Ise 


i 


se, I |1| I 


".t Id 




r In r I 


Id :- 


j weep, 








Till th'e 


ter 


- nal 




mor - - row; 


Though dark waves roll 


< last 








Dawns a 


day of 


glad - - ness. 


Un - 


- der thy sod, 


j turn, 








Christ, when Thou ap - 


pear - - est ! 


Soon 


shall Thy voice 


1 1 : 





I- 




d f I-.f 


n 


Ir 




r I 


d I 


s .r IPI 




|f Is f : 


m : 


\ 1 

*l 





I- 


- 


ft .t, I- .t, 


HI 


:NI 




n, I- |1, I 


d -S| I- 




S| I8| d I 



~~ 
















/> 


- : 


rail. ^== 


^ lenlando. p 


llv 






I 1 I-J 1 


i 
< 




1 


I |1 I- 




t 


| 


- 1 Is 


d 1 I d 


[ I 


d 


l-.d d If r I d I 


( de Ir i 


n If 


PI 


I 


r ;- 




r I 


Id It, 


d I- t 


a, I 


li 


I-Ji 


li :l, t, 


:-|d ;- 


O'er the si - 


lent 


riv 


- er, 




Thy 




fainting 


soul 




Je 


- sus can de - liv 


- - er. 


( arth re-ceive 


our 


treas - ure, 


To 




rest in 


God, 




Wait- ing all His pleas - ure. 


Comfort those 


now 


weep - ing, 


Bid 


- 


djug re - 


joioe 




All 


iu Je - sus sleep 


- i"g- 


PI If J 


i ; 


1 


8 


;- |f :- 




f I- 


- |f If 


n I - 


- I 


f 


: .f 


f Ir f : In : 


1 1. :l, 11 


i 


1| 


r 


; 


r J 




8, :- 


* '8, tS, 


1, I |s 


i ~~ 


f. 


:-.f, |f, if s, : 


-|d :- 


















ESTHER. 










r*Q5. KEYDt?. Transitional Modulation, Sharp Cadence, Flat "passing." 


J. BABNBT. 


n Ir 




n 


If 




r 


I- 


j 


d 


I 


8 If 


n 


Ife 


s Ife 


n I- 


d It, 




d 


id 


ti 


I-.t, |d I- 


r It, 


n 


In 


n Ire 


n I 


l.Soft -ly 
2. Thou, whose 
3. Soon, for 


now 
all 
me, 


the 
- per - 
the 


light 
va 
light 


of day 
ding eye 
of day 


Fades up 
Naught os 
Shall for 


on my 
- capes, with - 
ev - er 


sight a - - way; 
out, with - in! 
pass a - wayi 


8 IS 




S 


:1 




S 


I- 


s 


n 


. 


r Is 


8 


Id 


t :- a 


s I 


d lS| 




d 


if 


S| 


!- 


Ji 


d I- 


t, Is, 


Id 


'I 




t, it 


n I 


1 :. 




f 


:l 




r 1 


Id- |t I- 


d 1 It 


U 


If .PI 


r I- .n 


d I 


\ n Ide 




r 


Ir 




f 


If 


If :- 


n Ir 


d 


1 




t. It, 


d I- 


Free from care, 


from 


la - 


bor free, 


Lord ! I 


would com - 


mune with 


Thee. 


< Par - don each 
Then, from sin 


iu - 
and 


firm 
sor 


- i - - ty, 
row free, 


O - pen 
Take me, 


fault, and 
Lord! to 


se - cret 
dwell with 


sin. 
Thee. 


1 PI 11 


U 


If 




S 


11 




r 


J 


d 1 Ise 


H 


Ir 


.n 


f If 


n I 


flo 1 

<tt .!( 




r 


Id 




t, 


'\ 




Si 


; 


1 In 


l f .. 


:f 




S| IS, 


|d I- 



FIFTH STEP. 



135 



SING YE JEliOYAH'S PRAISES. 



3SO. KE 


y G-. Allegretto. 


Inst. 


T. F. SEWABD, by per. 


n In ,,n 


r Id 


S| 


I d .r Im .f 


s Is .,s 


|f In 


j. 


1, : 


S\ IS, ,,S| 


f| ' m i 


n. 


I n,. I 


s. Is, ,,s. 


s. Is, 


f. :- If, : / 


Sing ye Je - 


ho - vah's 


prais 


es, 


Praise ye His name for - 


ev 


er, 


d Id .,d 


d Id 


d 


:- Id . ; 


n In ,,n 


|t, Id 


1, :- 


r i 


d Id .,d 


d Id 


d 


: |d , ; d, :dj.,d 


Ir, :n, 


f. :- 


If. : 


r Ir .,r 


n If 


s 


Id' - .1 If .r 


d It, ,,d 


n Ir 


d : 





s. Is, .,s. 


s, It 


d 


:- - :l. .1, 


s. Is, 


Id It, 


d I- 


: 


Earth now to 


heav - en 


rais 


es Her 


voice in 


grate - ful 


lays. 




t, It, ,,t. 


d Ir 


n 


I- f If .f 


n Ir .,n 


S If 


n I 


: 


f. :f. .,fi 


n, Ir, 


d, 


:- If, :fi of] 


s. Is, 


s. Is, 


d I 


9 


:8:D.t. 










/ r s I 


- ,n Id ,n 


s 


I - .n Id .n 


s .d 1 In'.r 


|d'.t 11 .s 


s I 


f i 


( Glo 


ri - f y Him, 


Glo 


ri - 1'y Him, 


Let His great salvation now ap - 


pear, 




\ d ^ 


d I 


d 


Id |d I 


n In 


n In 


n I 


r I 


) Sing His praise, 


sing 


His praise, 


Sing His 


great sal - 


va - - 


tion, 


y*in In 


n I 


m 


In n I 


s Is 


S IS 


s I 


S I 


".d Id 


Id I 


d 


Id |d I 


d Id 


|d Id 


s, I- 


s, I 


f 
i 


.r It, .r f I 


-.r It ,r f.t ir'.d'lt.s ll .t < 


1st lime. D.S. f.G. 2nd time. 
I' I I d 'S Is fe If 


Glo 


ri-fyHim, Glo 


- ri -fy Him, Send the joyful tidings far and 


near. neeu: Ir 


ig t. 


t. It, |t, I t. It, 


t, I r Ir 


r Ir 


^ :- ; ^t, i 8 , 


1, It, 


Sing His praise, sing His praise, Send the joy ful i 


news. news. 




s Is s 


I s Is 


si s Is 


s Is 


a sy 

5 * 


I 


Sj IS, S 


: si is, 


s, I s. Is, 


S| IS, 


d : : d s, : 









Inst. 






n In ,,n 


r Id 


S| 


I |d .r In .f 


s Is ,,s 


f In 


r 


1, : 


. S l :s l .,8, 


fi in, 


n, 


I n,. I 


s, Is, ,,s 


s. Is, 


f. :- 


f. : 


Sing ye Je 


-ho - vah's 


prais 


es, 


Praise ye His name for - 


ev 


er, 


d Id .,d 


d Id 


d 


:- d . : 


n In .,P 


i t. Id 


1. :- 


r : 


id Id ,,d 


d *^ 


d 


:- Id. : 


d, Id|.,d,|r, In, 


f. :- 


If, : 



136 FIFTH STEP. 






r :r M r n :f 


s id 1 - a if j 


d It| .,d n Ir 


d I- 







si :si ,,s, si :t| 


d i- - n, a. 


s, is, |d :t| 


d I- 







Earth now to heav - en 


rais es Her 


voice in grate - fnl 


lays. 






t| :t| .,t| d :r 


n I- |f If.f 


PI Ir ..PI s if 


n I 


-* 




fi :fi.,fi n, :r, 


d. f f f 
1 I. !. Jl 


S| IS| 8, I8| 


d I 





P 


1 


1 


PI :- - :l 


n I II 


n In S n j Id .t, 


1. :- 


- , 


( 


Far a - 


way from 


Him His people all havt 


strayed, 




\ 


d :- - :d 


d I- - Id 


d :d .r d .t, Il| .se, 


l. ' :- 






d In ,,r d : 


d In .,r |d I 


n I n I- .r 


d I- 






Far, far a - way, 


Far, far a - way 


All, all havr 


strayed, 




\ 


1, :d .,t,l, : 


1 Id ,,t 1 I 


n I ni I- tPi| 


l. :- 




D. t. / f. G. List. 




i 


s : :d' 


si Id 1 


s Is J s .f In .r 


"8, I. 


ft 


{ 


Y.'t His 


lov ... ing 


kind -iu 88 never is de - 


layed. 




\ 


tiPl I In 


n I In 


n In .f n.r Id .t ( 


*8| I., 


K 


} 


*iP1 IS ,,f PI I 


n Is ..f n I 


s Is s .s is .f 


"t, I 




( 


Yet, yet His love, 


Yet, yet His love, 










8 ,d In ,,r d I 


d in ..r d I 


to O| S | S | iS* 


d8 ' : 




List. 






PI In ,,n r Id 


Sj I |d ,r In ,f 


s Is .,s f In 


r I- 


1. 




^* t 


Pl| I Pl| t I 


8| tS| ,,S| S| *8| 


f. :- If. 




Sinjj j i' .)c-!io - vah's 


prais - - es. 


Pnuse ye HJK name for - 


!V 


r. 




d Id.,d|d Id 


d I- d . I 


d Id ..d |t. Id 


1, :- 


r 




d Id ,,d d Id 


d I- d . I 


d, :d,.,d, r, in, 


ft :- If. 


I 


r Ir .,r n If 


s Id' - .1 If j 


d it ..d n Ir 


d I 






S| IS| .,8 |S| It| 


d I- - 11, .1, 


S| Is, d It, 


d I- 




/ 


Earth now to heav - en 


rais es Her 


voice iu grate - fnl 


lays, 






t ( It| ,,t| d IT 


n I- f if .f 


n Ir ,,n s If 


n I 






f f f . 

i| .t, ,,i| n f ,i| 


d, : |t, :f, .f, 


S .Sj 8| tS| 


d I 





Inst. 
.t, Id 



If 



FIFTH STEP. 



l :- J 


o *e 
o s 


f : 


PI : , 


r :s S |n :d 


Ritard. 

r : |d 


d :-.d 


d :d 


r ,t| :d j 


Id : 


Sj I- .8) |S| IS| 


t, :- Id 


Hal - -to - 

f :-S 


lu - jab, 

n In 


A 

s :- 


men, 

s : 


Hal - - le - lu - jah, 

t| :n .r d :m 


A men. 
8 .1 .'S .f JPI 


fi .s, :1| .ti 


d :d 


t| .si :1| .t| 


d : 


si :- .si |d :d 


si :- |d, 



137 



THE KING AND THE MILLER. 



3S7'. KEY C. Lah is A 


In 


1 I 11 


se I In 


d 1 I Id' |t I Ir 1 


d 1 1 11 


t I Ise 


1 
~~ 




In 


n I In 


n I In 


n I In |f I If 


n I Id 


r I Ir 


d I I- 




1. There 


dwelt a 


mil - ler 


hale and bold, Be - 


side the riv - - er 


Dee; 


2."Thou'rt 
3. The 
4. "Good 


wrong, my friend," said 
mil - - ler smiled and 
friend," snid Hal, and 


old king Hal, "As 
doffed his cap "I 
sighed the while, "Fare- 


wrong as wrong can 
earn my bread," quoth 
well, and hap - py 


be; . 
he; 
be; 


in 


d 1 I Id 1 |t I Ise 


1 I 11 |t I 11 


1 I 11 


se I It 


1 I I- 




In 


1. :- :li 


t, I- It, 


d I Id 


r I Ir 


n I In 


n I In 


1, :- :- 




In 


1 : :l 


se I In 


d 1 I- Id' |t I Ir 1 


d 1 I 11 |t I Ise 


i 




(in 


n S In 


n I In 


n I In 


n I In 


n I Id 


r I Ir 


Q. * 




\He 
(For 
But 


worked aud 
could my 
love my 
say no 


sang from 
heart be 
wife, I 
more, if 


morn till night, No 
light as thine, I'd 
love my friend, I 
thou'dst be true, That 


lark more blithe than 
glad - ly change with 
love my chil - dreu 
no one en - - vies 


he; 
thee. 
three, 
thee; 


In 


d 1 I Id' |t I Ise 


1 I- 11 


se I :t 


1 I 11 


se I It 


1 I I- 




in 


1. i- :li 


n I In 


d I Id 


n I Ise 


1 I 11 


|PI I In 


1| I I 




Id' .r 1 


n 1 I In 1 
s I Is 

this the 
tell me i 
owe no t 
meal - y c 


s I Is 

our - - den 
low, what 
me I 
ap is 


r' I- Ir 1 
s I Is 

of his s 
makes thee s 
can - not i 
worth my c 


r t 
s I If 

ong For 
ing With 

>ay I 

rown ; Thy 


d 1 : il 
n I In 

ev - er 
voice so 
thank the 
mill my 


r 1 I Id' 
|f I- Ir 

used to 
loud aud 
riv - er 
dug - dom's 


d' I I- 


t 


In.f 


n I I 


r 


And 
Aud 
I 
Thy 


be; 

free, 
Dee, 
fee, 


Is 


d 1 I Id 1 


d' I- Id' 


t I It |t I Ir 1 


d 1 I Id' 


1 : :l 


S I I 




Id 


d - Id 


d I In 


s : is 


Q * *Q 

a b 


1 : :l 


f : :fe 


s 

9 > 




In 
In 

. While 
That 
Such 


n I In 

en - - vy 
I am 
turns the 
men as 


se I -.bain 


d 1 I Id' 
n I In 

no, not 
I'm the 
grinds the 
Eng - land's 


t I Ir 1 
n I In 

I ! And 
king, Be - 
corn To 
5 boast, O 


d 1 :-.t :l 


t I Ise 
r I Ir 


1 I- I- 

d I I 

me!" 
Dee? 
me !" 
Dee ! " 




n I In 

no one 
sad, tho' 
mill that 
thou are 


n I-j: Id 


LIO one en - - vies 
side the riv - - er 
feed my babes and 
mil - ler of the 


In 
In 


d 1 I Id 1 

L I- d 


|t I-.1 Ise 


1 I- 11 
1 I- 11 


se I It 
n I Ise 


1 I II 
1 I- II 


se I It 
n I- in 


I I I 

i, ?-:- 


' 


n I In 



U. 



138 



FIFTH STEP. 



QUESTIONS FOR. WRITTEN OR ORAL EXAMINATION. 

DOCTRINE. 



1. What tone has, thus far, been the key-tone, 

or point of whose ? 

2. Must Doh al way 8 bo taken as the key-tone, or 

may any other tone bo made to predominate 
in a tune ? 

3. What is meant by the Ray Mode t 

4. What is meant by the Lah Model 

5. What are the general mental effects of the 

May and Lah Modes ? 

6 What is the mental effect of the Doh Mode) 

7. What is the Doh Mode commonly called? 

8. What are the Hay and Lah Moden called I 



9. What is the distinguishing interval of the 
Major Mode ? The Miiior Mode J 

10. Which of the Minor Modes is the most used 

at the present day ? 

11. What is required to give Lah the importance 

of a key -tone f 

12. What does the introduction of Se create? 

13. How is this avoided ? 

14. What is the Lah Mode modified by these new 

tones ra 1 lc< I ' 

15. What is the essential Seventh of the Modern 

Minor? The occasional Seventh .' 



16. What is the essential Sixth ? The occasional 

Sixth? 

17. What is a change of Mode called ! 

18. What is the change from the Major to the 

Minor mode of the same key culled? From 
the Minor to the Major ; 

19. What is the mental effect of a modulation 

into the Relative Minor? Into the Major ? 

30. What is a change of both key and mode 
railed ? 

-1 What is the commonest form of this change I 

2*3. What is another, though less frequent Tran- 
sitional Modulation! 



PRACTICE. 



23. Draw from memory a modulator illustrating 

the Minor Mode. 

24. Imitate in tin- Minor Mode any Major phrases 

sung or *>lii\ed by t'.:e Examiner, but none 
more difficult than Nos 284 to 2U3. 

25. Pitch from the tuning fork the Lah of key I) 

G, Eb, A. 



26. Follow the Examiner's pointing in a volun- 
tary containing all the tones of the Modern 
Minor, ineiinling also, modulations to the 
Relative Minor, anil Transitional modula- 
tions to the First Flat and First Sharp Mi- 
nor. 

J.i- J'oiiit and sol-fa on the modulator any one of 



the following four exercised, 272, 274, '380, 
281, chosen by the Examiner 

28. Write from memory any other of these four 

exercises chosen by the Examiner. 

29. Sing at sight, sol-fa or Ian, any exercises in 

the Minor Mode not more difficult than 
these pieces. 



139 



SIXTH STEP. 

Transitions of more than one remove. 



Two Removes. The transitions used thus far have been 
transitions of one remove to the First Sharp key or First Flat 
key requiring the change of but oue tone. But the music often 
passes into the Second, Third and Fourth Sharp or Flat keys, re- 
quiring the change of two, three and four tones. Transitions to 
the First Sharp or First Flat keys are called transition of One Re- 
move. Transitions to the Second Sharp or Second Flat keys are 
called transitions of Two Removes. In two-sharp removes the 
music is placed one step higher; fah and doh of the old Key are 
omitted and two new tones, me and te are taken instead. Of these 
two distinguishing toues t is the more important because it dis- 
tinguishes the second sharp remove from the first. In the signa- 
ture this new t is placed nearest the key-name; thus A.t.m. In 
two-flat removes the music is placed one step lower; te and me of 
the old key are omitted and doh and fah of the new key take their 
places. The new f is the more important because it distinguishes 
the second flat remove from the first. In the signature this new 
f is placed nearest the key-name, thus d.f. A. Of the mental 
effects, transition of two sharp removes is expressive of rising emo- 
tion, more intense or more excited feeling. Transition of two 
flat removes is expressive of falling emotion, more intense serious- 
ness and depression. When the music passes over the first sharp 
key to the first flat key or vice versa swinging across the modu- 
lator we call this form of two removes "oscillating transition." 
It is of frequent occurrence and is generally quite easy to sing. 
This "oscillation " across the original key keeps that key in mind, 
and lessens the violent effect of the two removes. A transition of 
two removes from a Principal Key (a principal transition) is sel- 
dom used except for imitation and sequence. Such transitions are 
comparatively easy when the music is exactly imitated in the new 
key. 

Three Removes. Transitions to the Third Sharp or 
Third Flat keys are called transitions of Three Removes. Three 
sharp removes place the new key a Minor Third below, and three 
flat removes a Minor Third above the old key. In other words, lah 
becomes doh and doh, becomes lah. On account of this relation 
between the lah of one key and the doh of the other, transitions of 
three removes are commonly Transitional Modulations. The men- 
tal effects are obvious for a transition of three flat removes and a 
modulation from major to minor together naturally produce a 
gloomy depression of feeling; and a transition of three sharp re- 
moves and a modulation from minor to major combines to produce 
a strange kind of excitement. In transitions of three removes 
three tones of the old key are taken out to give place to the three 
distinguishing tones of the new key. In three-sharp removes .o.th. 
doh and fah of the old key are displaced by lah, me and te of tn 
new key. 



The t is the last new tone required and is placed nearest the key- 
name in the signature, thus A.t.m.l. In three flut removes the 
te, me and lah of the old key are displaced by soh, doh and fah of 
the new key. The f is the last new distinguishing tone and is 
placed nearest the key-name in the signature, thus s.d.f. A. In 
Transitional Modulations of three removes the similarity of the 
upper part of the two modes ( m ba se 1 and s 1 1 d 1 ) assists the ear 
in passing over from one key into the other, especially if that 
form of the minor mode containing ba is used. The third flat re- 
move is the more difficult to sing, simply because the minor mode 
into which it enters is itself artificial and difficult. The third 
sharp remove is the less difficult, because the major mode into 
which it enters is more natural to the tar. 

Four Removes. Transitions into the Fourth Sharp or 
Fourth Flat keys are called transitions of Four Removes. Four 
flat removes place the new key a Major Third below, and four 
sharp removes a Major Third above the previous key. In other 
words, doh becomes me, or me becomes doh. In four-flat removes 
the tones of the old key displaced are te, me, lah and ray; the dis- 
tinguishing tones of the new key are ray, soh, dohsmdfah. The 
new f, being the last new flat, is placed nearest the key -name in the 
signature, thus r. s.d.f. A. In four-sharp removes the tones of 
the old key displaced are ray, soh, doh&ndfah; the distinguishing 
tones of the new key are ray, lah, me and te. The new t, being the 
last new sharp, is placed nearest the key-name in the signature, 
thus A.t. m. 1. r. 

Difficult Removes. All removes beyond the first are 
difficult to sing without the aid of instruments. The greater the 
number of changes, the greater is tho difficulty of adjusting the 
ear and mind to the new relations. Ot 32 or more possible transi- 
tions and transitional modulations only nine or ten are much 
used. Transitions of the third, fourth and other removes are not 
much used exceri io connection with instrumental accompani- 
ment. 

Relation of Keys in a Tune. Every tune has its 
Principal Key ( tuat is, commencing, and closing, and prevailing 
key). The other keys are called Sidwrdinate Keys. Transitions 
from and to the Principal Key are called Principal Transitions. 
Transitions between Subordinate Keys are called Subordinate 
Transitions. In speaking of Subordinate Keys we have to bear in 
mind not merely their relation of one, two, or three removes 
(flat or sharp) from the last key heard, but also their more im- 
portant relation to the Principal Key. Subordinate Keys may be 
three or four removes from each other, but only one or two from 
the Principal Key. 



140 SIXTH STEP. 

3SS. KEY C. Two SHAEP REMOVES D.t.m. 

is :f in :s Id 1 :t |l : | ! s :f |n :s Id 1 ?t 



f.G. 



II 1 



f.C. 

:f |n :r |d :t, |d : | d s :f |n :l is :t id 1 : 



. KEY D. 



(Id :t, id. :n |s.f: 



n.r 



E.t.m. 

r d It, |d :n |s.f:n 



f.A. 



fix 



:li I s, :d |d.ti:l| .t. Id 



'f | n :r |s.f in j Id : 



KEY F. 



G.t.m. 

n :s |d.r:n If :n Ir : Is :r |n.fls Ms Ir |n.fls 



fC. 



f.F. 



jKd'ls ll.t Id' Ir 1 :r' Id' :- Ks In jr.nlf In Ir Id : 



^$:$l. KEY G. 



A.t.m. 



MODULATOR, 
Showing Two Remorei. 


r' 


d 1 


dd 


t 


d' 


ta 


t 


1 


1 


8 


8 


f 


fe 


PI 


f 


ma 


n 


r 


r 


d 


de 


t, 


d 


/"i 


t, 


1, 



s i :1 i ti d :t, .d |n.r Id .t, |d P,s, II, .t, Id It, .d |n.r Id ,t, |d I- > 

f-D. fG. 

mm Is |f .n ir Ir If | n j Id 1*8, II, .t, |d It, .d jn.r Id .t, |d I- 



F.t.m. 



Ir h^ if .n |r pd In |r If In* If .n |r I- 

fBt?. f.Eb. 

In |r In d is .f In j |d I 



S33. KEY D. Two FLAT REMOVES. 

Is :1 |s S In .r |d :r 

G.t. 



33i. 

(| m :r 

c.t. 
- 5|*.ra :f |B : 



33 i. KEYG. 

Id 



m 



33>. KEY C. Subordinate, sharp. 

51 s :m |d' :t 



G.t.m. 

rr :n |f :r 



:r 



33O. KEYC. Subordinate, flat. 

:f n :s id 1 :t 



d.f.P. 



j| d r :n |f :i 

33-r KEYS!?. 

i Id :t. Id :; 



SIXTTT STEP. 
d.l.C. 



m : 



:d Id .t, Id jr I m : 



d : 



f j :l .t |d' : 



s : 



d :t, Id : 



F.t. 



D.t. 

1"! 



d.f.F. 

l r n :r 



G.t. 



:f 



f.C. 

ht :t 



f.C. 



:f 



Is .f : 



n :r 



f.F. 

8 r !m |f :r 



:s 



G.t. 

| ! r In |f Jr 



d :r 



s :m Is 



:r 



:t 



:t 



d.f.E>. 



141 



n : 



:l, .t, |d :- 



[d : 



m :- 



|d : 



Id 



r :i 



F.t.m. 



s :n |f :r I'd : | : d r Is :r |m :f 

f.Bb. 



s :r m :f If : 



n 



d : 



F.t.m. 

:f |m:r Id :r In : IT :f In :r 



G.tm. 



A.t.m. 



d :r In: | m r :f |m :r |d :r In: hr.'f |m:r 



d : 



: pr:f |n :r id :t, |d : |^r :f |n :r id :t, |d : |*r:f |n:r Id :t, |d :~ 



L42 






















SIXTH STEP. 


































CORONA. 












330. 


KETF. 


C.t 


H. J. GAUNTLETT. 


Is, 


PI 


:-.n r 





d 


s :- 







:s 




f I-.f n :r 


n : - 


- : n l 


s :1 


s : 


d 1 


Is, 


n 


:-.n r 




d 


s :- 







Is, 




f I-.f n Ir 


n I - 


- : d f 


s Ir 


s I 


n 


l.Thoa 


art 


gone up on 


high 






To 


mans-ious in the 


skies; 


And 


round Thy throne un- 


2 Thon 


art 


gone up on 


high: 






But 


Thou didst first come 


down, 


Through 


earth's most bit - 


ter 


3. Thou 


art 


gone up on 


high: 






But 


Thou shalt come a - 


gain, 


With 


all the 


bright ones 


Is, 


n 






t 


n r 


Id 


S I- 






Is, 




f I-.f n Ir 


n I - 


- I'd 1 


d 1 It 


|d' : 


d 1 


Is, 


n 






-. 


n r 


Id 


S I- 






Is 




f :-.f n Ir 


n I - 


- : d f 


n If 


PI Id 


d.f.Bb. 


d 1 


r 1 




r 


Is 


n 1 I-.n 1 


n' 


Ir 1 




d' 





- :!t, 


n I-j |d 


:t. 


t, :- 


: 


t. 


n , 


fe 




s 


Is 


s I-.fe 


a 


If 




n 


I 


I 8 1, 


so, l-.se,|l| 


:l. 


se, I 


1 * 


N| 


ceas- 


ing - 


iy 


The 


songs of 


praise a - 


rise. But 


ire are ling' - ring 


here 


With 


a f' - 


o - 




ny To 


pass un 


-to 


Thy 


crown. And \ 


jirt with griefs and 


fears 


Our 


of the 


sky At - 


tend - ant 


in 


Thy 


train. 


jy Thy sav 


- ing 


power 


So 


d' 


!d' 




t 


11 




d 1 I-.d' 


d' 


It 




d' 






I d 'r ] 


r I-.t, n 


Ir 


n :- 


Ir 


1 : 


1 




S 


Is 


d 1 I-.1 


s 


Is, 




d 


I 


: n f, \ 


ii l-.n, n, 


'% 


ni : 


* 
i 


i6i 


F.t. 


d I 


-.t, 


1 




IS, 


ft 4~ 


:r |t, 


Is, 


n 


J_ 


.d 


f Ir s I- 


If n 


:-S n 


Ir 


d I 





ri, I 


-.n. 


r 


l| 


IPI] 


r -S| 


:r It, 


Is, 


d 


I- 


.d 


d It d I - 


- Id d 


:-.d d 


It, 


d I- 





.siu 


and 


care op 


- press'd, Lord, send Thy 


promised Corn-fort- er, 


And lea 


1 us to 


Thy 


rest. 




onward course 


inu si 


bo 


, But on - 


l.v 


lot 


that 


path of tears 


Lead us 


at last to 


Fhee. 




make 


us 


live 


and 


die, That we may 


stand, 


in that droad hour, 


At Tlr 


right hand on 


high. 




d I-.r 


d 


Id.t 


I'-r 


Ir t, 


Is, 


S 




~ 


a 


1 Is s I - 


- :1 s 


:-J s 


If 


n : 





1. :- 


-.se, 


H 


1 


Id 


*, 


Ir t, 


Is, 


d 


- 


f 


r If n I If s 


:-.s, si 


Is, ( 


1 :- 



























ELLWOOD. 












340. 


KEY C. 


G. A. 


MACFABBEN. 


s In 1 Id 1 


s I 





:l 


s I- 


_ 




n 


:- 


- I 


s n it 


d' I- It 


1 :- 



- 


- I I 


' 


in Is 





PI 




n I 


jf 


n I- 


I- 




d 


i- 


- I 


d I- Id 


|d I Is 


f :- 


- : 


I I 





' l.Je 


- BUS 


is 




our 


Shep 


hord, 


Wip - ing 


ev - ery 


tear; 








< '2.Je 


- SUH 


is 




our 


Shop 


herd, 


Well we 


know Hii 


j voice 








3.Je 


- SU8 


is 




our 


Shop 


herd, 


For the 


sheep He 


bled; 








(i:- 


- Id' 


d 1 I 




d 1 


d 1 I I 


s 


:- 


_ J 


S I IS 


s I Id 


d 1 : : 


l i: 




i d :- 


- I 


d 




d I 





Id 


d I- 


- I 




d 


i- 


- I 


n I In 


n I In 


f ; 


- In 


r I Id 
























G.t 












, r 1 I Is 


s I 


1 


It 


d' I- I- 


- |1 I- 


- 



!n:l Is 


|f I-Ir 


d I I - 


i i 


, 


f 
I t .- 


- If 


f : 


- If 


n I- 


-I- |1 I- 


~ 


dl Id 


|t| I It, 


d : : - 


; i 


- 


] Fold 


- ed 


in 




His 


bo 


Bom, 


What have we to 


fear? 






1 


How 


its 


gen 


- tlest 


whis 


. 


p 


er 






Makes our 


heart re 


joice ; 






( 


Ev - 


ery 


lamb 


is 


sprin 


- - 


i 


led 






With the 


blood He 


shed; 






( 


S I- 


- It 


It I 


d 1 


r' 


d' :- :- 


n 


:_ 


- I 


''s If in 


r I If 


n :- 


i 

- - 


I ! 


J 


t. * *! 
> * 


s : 


- :B, 


1, :- 


-:- Id 


__ 


- : 


r s, : is, 


la *a 
| B| S| 


d I- 


- - 


I 1 


/ 



d.f.F, 

d r : :r 


f :n :r 


SIXTH 

s : : n : : 


STEP. 

GUm. 
cij J Jj 


f :m :r 


to. 

BY\ j j 


"I, ;- :l, 


t, :- :t, 


d : : jd : : 


de t,: :t, 


It, :- :t, 


d s : :- 


On - ly 
Ev - en 
Then on 

maf j if 


let us 
when He 
each He 

r : Is 


fol - * - low 

chid - - eth, 
set - - teth 

S 8 


Whith - er 
Ten - der 
His own 

l s : :s 


He doth 
is His 
se - - cret 

r : :s 


lead, 
tone: 


d r : :r 


Is, :- :f, 


n, : : d : :- 




s, :- :f, 


n 't| I ' | 


s :m' :d> 


s : :1 


s : : n : : 


f IB :l 


|t : :s 


d' :- :- 


PI Is in 


PI : :f 


PI : : |d : : 


d :r :PI 


If :- :f 


n : : 


To the 
None but 
"They that 

ta : :ta 


thirst - y 
He shall 
have My 

ta : :l 


des - - ert, 
guide us; 
Spir - - - it, 

Ta | ta 


Or the 
We are 
These" saith 

1 :ta :d' 


Jew - - y 
His a - 
He, " are 


mead, 
lone. 
Mine." 

d 1 : : 


d : :d 


d :- :d 


d :- : |d :- : 


f : :f 


r : :s 


d : : 



143 



CLARK. 



PI IS |f 


IP! 


r in 


r Id 


n :r 


1 :s 


s :fe 


s : s 


:l 


s :PI 


d :r 


PI :n 


, d :d |d 


:d 


d :d 


t, :d 


s, :r 


d :r 


d :d 


t : s 


i :fe, 


s, :si 


S|.d!t|.l 


1, :se, 


1. Light of those whose 


dreary dwelling 


Borders on the 


shades of deatli, C 


ome, and by Thy 


love's re- 


veal - ing 


2. Still we wait for 


Thine ap-pear-ing; 


Life and joy Thy 


beams im-part, C 


/has-ing 


all our 


fears, and cheering 


3. Save us in Thy 


great corn-passion, 


Thou mild, pa - 


ci - fie Prince, C 


tive the knowledg 


of sal 


- va - tion, 


s Ita 1 


IB 


fe :fe 


f :m 


d :r 


m.fels 


1 :l 


s : r 


i t na 


r In 


m :f 


|t>d:r ] 


d :d |d 


:d 


1_ 
, * r i 


si :d 


d :t. 


1, :t, 


r Ir 


s, : d 


L :d 


|t, :d 


li :fi 


PI, In, 












D.t. 












n :1| 


111 :r 


r 


:PI 


Id 


: 


r s :s |1 :d' 




t :r' 


r 1 


:d' 


s 


:se ; 


I :t 


1, :s. 


fi : 


I, 


ti 


:t, 


d 


: 


t.pi IB 


f :ma 


r :f 


f 


:PI 


d 


:r |d :m 


Dis - si - 


pate the 


clouds be - 


neath. 


The new heaven and 


earth's Cre - a 


tor, 


In 


our deep - est 


< Ev - ery poor be - 


night - ed 


heart. 


Come, and man - i 


. 


fest the fav - 


or 


God hath for our 


(Give the 


par - don 


of 


our 


sins. 


By Thine all - re - 


stor - ing mer - it, 


Ev - ery burdened 


de :de 


r : 


f 


f 


:f 


PI 


: 


8 d' d' | d' *1 




s :t 


It 


:d' 


d 


:t | 


i :se * 


1 :l 


r : 


r. 


s. 


:s, 


d 


: 


8 ,d :m 


f :fe 




s :s 


id 


:d 


m 


:m 


1, :PI 


E.t.m 


d.f.I). 


f.G. 










/ d 1 :r' 


n 1 :- 




m' r l 


:t 


s 


:d' 


i'r' :t 


s Id 1 




4's :l 


s 


:f 


m 


Ir 


d : 


1 n :l 


se : 




8 f 


:f 


f 


:n 


"f :f |f :m 




" a ta,:ta 


i ta, 


:l. 


t 


:t. 


d :- 


j darkness 


rise, 




Scatt'ring 


all 


the 


night of nat - ure 


Pour - ing eye - 


sight 


on 


onr 


eyes. 


\ ransomed 


race; 




Come, Thou glo-rious 


God and Sav - iour 


, Come, and bring 


the 


8 


3 - pel - 


grace. 


J soul re - 


lease, 




Ev - 


ery 


wea - ry, 


wand'riug spir - it 




Guide in 


- to 


Thy 


per - feet 


peace. 


jf i :l 


t :- 




det 


:r' 


d 1 


:ta 


t :r' 


d 1 :ta 


1 PI IPl 


d 


:f 


f 


:f ! m : 


1 H*f 

1 .0 .1 


n :- 




J iii !S| |d 


:d 


"S| :si |d Id 




f,d, :d t 


If, 


f 

i. 


B| 


5S| 


d : II 



144 



SIXTH STEP. 



WEST HEATH. 



343. KEY C 


. K J. HOPKINS. 


/Is 


n Is 


d 1 Is 


I :- .t |d' Ir 1 


n 1 :t |d :l 


8 


I- .f 


n v 


: 


d It 


d Is 


f :- .s 


s Is 


s Is i 


i :f 


n 


Ir 


d 


ll.Fear 
<2. Be 
J3.A - 


not, O lit - lie 
of good cheer; your 
men, Lord Je' - BUK, 


fl-ck, the foe Who 
cause be - longs To 
grant our pray'r! Great 


n ad - ly seeks your 
Him who can a - - 
Cap - tain, now Thine 


o - ver - throw, ( 
venge your wrongs ;> 
arm make bare; ( 


I'S 
(.8 

Id 


S If 

d :r 


s Id' 
n In 


d 1 :- j 
If ;- S 


|d' It 
n Ir 


d 1 Ir 1 ( 
d Is 


1' Id' 
n if 


d 1 

8 


It 


8 

Id 


G.t. 


d.f.F. 








Dread 
Leave 
Fight 


s, Id 
s, 11 

not his 
it to 
for us 


|r In 

Hi :f, 

rage or 
Him, our 
once a - - 


r I- |d I d r 


t, Ir s It| 
s, Ife, s, is, 

tho' your cour - age 
hid - den yet from 
shall Thy saints and 


d I- j n \ 
s, :- .t, |d ) 

some - times fiiints, 1 
mor - tal eyes, ) 
mar - tyrs raise ( 


f. :- 


n, :!, 


power: What 
Lord. Tho' 
gain ! So 


in, 

: J -r. 

G.t.m. 


d In 


r Id 

f, :r, 


t, I- |d I*r 


r id r 

s, :l, H 


i if 

i :s. 


n 
n 


:- .f 
i- .r 


8 

d J 


s, I d, I m .fe, 


f.C. 


:* 

I 8e .fe, 

J HIH 
( Sal - 


t, Ir |s It, 
S| Ife, |s. Is, 

seem - ing tri - umph 
va - tion shall for 
might - y cho - rns 


d :- j n : d s 

s, I- .t |d : d s 

o'er God's saints Lasts 
you a - rise: He 
to Thy praise, World 


d' Id' |r In' 
s 11 |1 If 

but a lit - tie 
gird - eth on His 
with - out end, A - 


r 1 


\ 


n 


f :- 


hour, 
sword ! 
men. 


I m r 
r$4ii 


r Id 

s, 11 


r If 

|t| IS, 


n I- .f 
n I-j 


s : n f 
d i^.f 

PRENTISS. 


d 1 In 1 i 
n 11 f 


Id' 
Ir i 


t 
8 


: 


d 1 
d 


: 








* n Is Id 1 t 


I-J Is 


1 Is In 


r I- I- 


n Iba Ise 


1 I-.t Id' 


t it 


11 


d Id Id d 

] l.More love to T 
(2. Let sor - row d 
3. Then shall my h 


I-.n In 

liee, O Chiist 
o its work 
t - est breath 


re In Id 

Mure love to 
; : e> i grief and 
Whisper Thy 


t I- I- 

Thee! 
pain; 
praise; 


t. Id It, .n 


n I-j Id 

pray'r I make, 
mes - sen-gers, 
part - ing cry 


r Id Id 

On bend - ed 
Sweet their re - 
My heart shall 


Hear Thon the 
Sweet are Thy 
This be the 


s In In s 


I-.f In 


fe Is Is 


8* * 
. . 


se :1 it 


1 I-.se 11 


s Ife 


Ife 


d Id Id d 


:-.d id 


d Id In 


S I I 


n In Ir 


d I-.t, 11 


r Ir 


;r 


f.A. B.t.m. f.E|?. 


S I I ] 


r Is, If 


n I-.r :d 


"r Is, If 


n I-j Id 


fd' In Ir 


a : 


: 


f, ' d< 

1 l/| . . V 

knee; '1 
( frain, 
J raise, 'I 


J, Is, It, 

'his is my 
Then they can 
"his still its 


d I-.t, Id 

earn - est plea, 
sing \\ ith me, 
pray'r shall be, 


Vs, Is, It, 

More love, O 
More love, O 
More love, O 


d :-.t. Id 

Christ, to Thee, 
Christ, to Thee, 
Christ, to Thee, 


d s Id It 

More love to 
More love to 
More love to 


d '.- 

Thee! 
Thee ! 
Thee! 


' 


s : : ] 


r Ir Ir 


n I-.f Is 


"r Ir Ir 


n I-.f In 


'd 1 Is If 


n I 


i 


' s : :f " 


t. It, Is, 


d I-j In 


le t, It, Is, 


d I .d Id.ta 


'.n Is Is, 


d I 


: 



SIXTH STEP. 



145 









SAUNDERS. 








844. 


KEYF. 


C.t. Lah is A. 


/ d : ~ 


r :PI 


n :- j r 


* 


f : n :r 


d : 


J m] 


: t :d" \ 




Is, :s. 


1 :-.l,|l, 


: 


1. :- It, :t, 


d : 


: 


i :- r :m 1 


1. Thine 


is the 


pow - er, Lord, 


Hum - bly we 


crave, 


T 


hou wilt Thy - ( 


< 2.Thine 


is the 


pow - er, Lord, 


Low - ly we 


bend; 


T 


rust - ing Thy ) 


3. Thine 


is the 


pow - er, Lord, 


Ours is the 


need; 


'1 


is in Thy 1 


( m : 


f :s 


s :-.f f 


: 


1 :- 


s :f 


PI : 


: "l 


' V 

i 


d :- 


|d :d 


f f f 

i, .- .1, I, 


: 


s, : s, :s. 


d :- 


: ^ 


I PI IPl ' 


d.f.Bi?. Lah in G. 


d' :-.t 


It :- 


r 1 : d 1 


:t 


1 : 


: 


it, :- 


t, in n 


I- .PI PI '. 


( f :-.f |f : 


f : n 


:r 


d :- 


: 


r pi, :- 


ba, isei 1| 


:-.li |li :- 


self re - veal, 


Might - y 


to 


save. 


Thine 


is the pc 


w - er, Lord, 


gra - cious word, 


Kins - man and 


Friend. 


Thine 


is the pc 


w - er, Lord, 


gra - cious word, 


Dare we 


to 


plead. 


Thine 


is the pc 


w - er, Lord, 


fl :-J 


1 : 


1 :- se 


:se 


1 : 


: 


!t, :- 


r :r d 


:-.d d :- 


r :- ,r 


1* * - 


t, : n 


:m 


1 :- 


: 


^set : 


PI, :m, 1, 


:-.!, 1, :- 








F.t. 








r Id 


a :t, d 


: 


: 


t.n :- 


m Ir 


d !-.r P 


i : f 


. 



r * .d 


d : : 


U :- 


se, Ise, I, 


: 


: 


fe .t, : 


t, :t, 


d :-.t, d :- d 


: t| :-.d 


d : :- 


5 lllp us to wi 


n, 


Hard are we 


now be - set, Striv - ing with 


sin. 


Giant us Thy pe 


ace; 


Now, from the 


ternp-ter, Lord, Grant us re 


lease. 


Are we not Tl 


due? 


Be Thou our 


watch and word, Sav 


iour Di - 


vine. 


m : 


N Ir d 


; 


; 


r s : 


PI IPI 


n :-.f s 


: i 


: |rf :-.m 


m : : 


PI, : 


n\ In, 1, 


: 


: 


'*, :- 


86| :S6| 


1, :-.!, s 


:- f, 


: 


s, :-.d 


d : :- 


GRACIOUS SPIRIT, HOLY 


GHOST. 






p 34S. 


KEY E 1?. 


mf B|?.t, Lah is G. 


CABYL FLOKIO. 


, d Id 


If : 


- .PI 


r :p 


id: 


"1. :li 


r :-.d 


t, :d |1, : \ 


d :t, 


li : 


- .d 


d :t 


|d :- 


d f. :f. 


If. :- 


-.fi 


fi :r 


ii l d i :r i 


) 1 . Gra-cious Spir 


it, 


Ho - ly 


Ghost, 


Taught by 


Thee, 


we 


cov - et most, 


<" 2. Love is 


kind, 


and 


suf - fers long; 


Love is 


meek, 


and 


thinks no wrong; 


J 3. Faith will van 


ish 


in - to sight; 


Hope be 


emp 


tied 


in de - light; 


f PI IP! 


If : 


- .8 


1 :s 


In :- 


"1, :l, 


sei :- 


1, 


1, !se, |1| :t 


\ d :d 


|d : 


-.d 


f, Is 


Id :t, 


Vr, :d, 


It, :- 


di 


r, :r 


i, |l, : 


/ d.f.A]?. 


Lah is F. 





: = p Ei?.t. 



_ 


: 




dy jy 


If : 


-.PI 


r :m |d : 


df ;f 


m .*r 




d : 





na .f, :f| 


se, : 


- .se. 


se !se, il| Is, 


*.t, :t. 


t, :t 




d : 


j : 


Of Thy gifts 


at 


Pen - te - cost, 


Ho - ly, 


Heav'n - ly 


Love. 




Love than Death 


it - 


self more strong: 


There-fore, 


give us 


Love. 




Love in 


Heav'n 


will 


shine more bright: 


There-fore, 


give us 


Love. 




dj *j 


r : 


-.t. 


f IP 


i PI : 


m l :1 


s :f 


m : 


| : 


tti :t, 


in, : 


-.n. 


m, IP 


i. Hi 


r,s, :s. 


|s, :s 


1 


d : 


i > 



Copyright, 1885, by Biglow & Main. 



146 SIXTH STEP. 

i3<iG. KEY Ej7. Lah is C. THREE SHARP UI-:MOVE< 

(|1 :l | se :se |l : |n :- |f :f id :r |n :- | : 



C.t.l.m. 



if 



:s Id 1 :r" I pi 1 :- |d> :- In 1 :r' |d' :t Id 1 : | : 



t :l | se : i 
i 



A.t.m.l. 

pd :-.d In :r Id :t, |d :s, II, :-.l|S, :d In :r |d : 



I?4T'. KEY C. Luh is A. 

l :-.! | se :l I m :n f :n 



||1 =-.. Ise :l 

II 

ir : 



Jt-Ir>?4. KEY E. THREE FLAT REMOVES. 

r id :n Is :1 Is :n |s :d It, :d if :n Ir : 



s.ct.f'.G. Lah .s E. E.t.m.l. 

:d |n :f In :d hs :n If :r Id :t. Id : 



i :1 



ft-L . KF.YG. 

, S| :d d :m 



From DYKES. 

f :n in :r id : I 



MODULATOR, 
Showing 3 BeiMves. 



d 1 



se 



ba 



Pi 



de 



ma) 



d' 



la 



m 



ma 



K.A.f.B\f. Lah is G. 

: d li 1| :d 



G.t.l.m. 



1, :- I- :n 



r :d |t, :t, |',r :- 



I :! 
II 



s, :n |r :d Id :f |n :r |d :t, .d |r :- .t, |d : I 



. Isil, is G. 



n :r Id :- .d 



f :n n :r I" d :r In :- .n |f :n Im : 



G.t.in.l. 

in :r |d :- .tj Id :r n :- hs :- .f |n :r .d Id :t ( |d : 



SIXTH STEP. 
LANDSDOWNE. 



147 



J. B. DYKKB. 



s.d.f.F. Lah is D. 



S I 


-.n 


s Ic 


I 1 


1 Id 1 


s 


I 1 


.t Id 1 


r 1 Is 


a 


8 PI I-.d p 


1 II 


PI I- .d 


n IPI 


f if 


P1 


I 1 


In 


r S IPI 


ml r : 


na d I-.1, |d :d 


l.Ev - 

2 Ev - 
3. Who 


ery 

erv 
shall 


morn-ing 
spring the 
go to 


the red sun I 
sweet young flow'rs ( 
that fair land? .' 


lis - es 
) - pen 
11 who 


warm and 
fresh and 
love the 


bright; 
right: 


But the eve-ning 
Till the chil - ly 
Ho - ly chil-dren 


d ! I 


-.s 


d 1 -Id 


I 1 


d 1 Id 1 |d' 


I c 


i 1 Id 1 


s Is 


s Id |t i 


d'l 


I-.n|l 


:l 


d I 


-.d 


d Id 


f 11 d 1 


I- f 


Id 


t, I 


d 


S* 
t t^ 


d l| 


I-.ll 11 


i 'li 


















D.t.m.l. 






f :] 


I 


PI Id.r 


PI I |f 


I r 


n I 


| 


- 


"s In If 


S 




B 


Id 1 


r Ir 


d 11 


.t 


d I- 





Ir c 


1 I 


t, :- 


de m Id Ir 


n 


Ir 


In 


com - eth on And th 
iiu-tumn hours Withei 


e dark, 
them 


cold i. 
a - \ 


ight: 
ray! 






There's a 
There's a 


brigiit 
land 


land 
we 


there Khali stand, In thei 


r robes 


of \ 


I'hite; 






For that 


heaven, 


so 


1 I 


1 


1 11 


.1 


n 11 





It 1 


t 
t 


se I 




d' Is :-.s 


S 


If 


Is 


r If 


1 IPI.P 


PI I 


r 


I r 


n I 


I 




i,d I Id 


d 






Id 


r' 


I 




Id' 


t 






d 1 I- 


It .1 


1 


Is IPI 


PI I Ir 


d I- 






f : IPI 


f 


I I 


f In 


Ire 


PI 


:- id 


t, I It, 


d I- 


I 


fai- 




a - 


way 


Where 


'tis 


nev 


er 


end - ing 


day. 




have 




not 


fie 


n, 


Where 


the 


trees 


are 


al - - ways 


green. 




bri-ht 


find 


blest, 


Is 


onr 


ev 


- er - 


last - - ing 


rest. 




S It 


Id 1 


r 


I I 


d 1 I 


Id 1 


d 1 


'a 

to 


S I- If 


PI I 


I 


S 


1 


Is 


s 


I Ise 


1 IS 


Ife 


s I Is 


s, I Is, 


d I- 


~~ "" 








WHEN DAYLIGHT FADES AWAY. 


BEETHOVEN. 


35Q. KEY G. 


D.C. 


Is, 


PI I 


r Id 




t 11, 11, 


f 


IPI Ir 


d It, 


It, 


1 Is It, 


d IPI Is 


1 


IS It; 


d I 


Is, 


s, I 


- :B, 




s, If, Is, 


1. 


I Ila 


i a, I- 


Is, 


t, I Is, 


s, Id Id 


d 


I Is, 


s, I- 


, /When 


day 


- light 


soft - ly 


fades a 


- av, 


In 


yon - der 


ma - nv - 


col 


- ored 


west. ) 


l - \And 


sol 


- emn 


night on 


si 


- - len 


t wing, 


Ap- 


pears in 


cb - - on 


man - tie 


drest. j 


r> /O, 


ev 


er 




wel - come 


sa 


ere 


1 hour, 


When 


shep - herds 


heard the 


an 


- gel 


strain, 1 


"u 


too 


by 




faith can 


list the 


song 


That 


once re - 


sound - ed 


ou 


the 


plaiik ) 


Is, 


d I 


t, Id 




d I Ide 


r 


Ide Ir 


PI Ir 


Ir 


f I- If 


PI IS IS 


f 


IPI Ir 


PI I 


Is, 


d, I 


r, I PI, 


f I IPI, 


ri 


Ipii If 


s, I 


Is, 


S, I IS, 


d I In, 


f, 


Is, Is, 


d, I- 


:g:s.d.f.B!?. 


Luh is 


0. 










G.t.m.l. 




D.S. 


I s PI 


f I 


PI Ir 




r Id Id 


r 


Id Ita 


ta, II, 


:l. 


d It 11, 


m s IPI IPI 


1 


Is it. 


d I- 


I d l, 


se, I 


Ise, 


PI, I In, 


PI 


I Ipi| 


f, :fi 


If, 


re|I L6| 


m .s, Id Id 


t| 


I Is, 


s, I- 


'Tis 
\ Are 


then 
wont 


my 
to 


Jioughts from 
Uirn a - 


earth - ly 
way to 


[)leasures That 
heaven And 


ev - er 
dwell up - 


in - suf - 
on Al - 


fi 
mi< 


cient 
jht - y 


prove; j 
love. \ 


jo, 

ho 


let 
Him 


my 

who 


ong - ing 
sit - teth 


spir - it 
in the 


ev - er 
Heavens, 


In 

When 


ho - ly 
day - lii^ht 


ad - o - 
soft - ly 


ra - tion 
fades a - 


stray ; | 
way. j , 


inafl 


t, I 


- :t. 


] 


i I 11, 


S| 


I- Id 


d Id 


id 


1, It Id 


de Pl!S IS 


f 


I If 


PI I 


: d li 


n, I 


IPl! 




i :- :1 2 


d 


I- Id 


f, :fi 


:fi 


ft .f 

TI . .i| 


"iS, I IS, 


S| 


I Is, 


d, I- 



148 



SIXTH STEP. 



?. Luh is G. * 



VOX DILECTI. 



J. B. DTKE8. 



p 

f 1 PI 1 


m, 11, 


H. :t. 




rail. 

d I- .d 


t, It 




a temfo. tn 
1 Il| 1 1, 11 


se, I 





i n i 


n. Hi 


1, :t| 




d I- .d 


t. If 




. . f 
PI, .Pl| 1, I 


n, I 





M 

2.1 

3.1 


heard the voice of 
heard the voice of 
heard the voice of 


Je - sus 
Je - BUS 
Je - sus 


say, "Come 
say, "Be - 
say, "I 


un - to Me and 
hold! I free - ly 
am this dark world's 


rest; 
give 
Light; 




: S ,P!| 


PI, 11, 


1, it. 




d I- .d 


t," Ir 




d Id 1, Ir 


tf ' I- 





* Bridf 


PI, 11, 

;e-notes are somet 


mes placed at the 


d I- .d 

>epiming ami .son 


t, Is, 

I'times at the end, 


1, 11, |f, Ir, 

for the return for additional verses. 


n, I- 





:m, 


^^== 

m, :l. 




li nr 




d I- .r 


t, In 




r Id |t, II 


n, I- 





irn. 


n. In, 


f. if, 




PI, I- .m, 


n, It| 




r. In, f, :fe. 


n, I 





\ Lay 

/ The 
) Look 


down, thou 
liv - ing - 
xin - to 


wea - ry 
wa - ter; 
Me; thy 




one, lay 
thirst - y 
morn shall 


down Thy 
one ! Stoop 
rise, And 


head up - on My 
down, and drink and 
all thy day be 


breast;" 
live :" 
bright:" 




(i 


d Id 


d Ir 

F *Y* 




d 11, 




t, It, 

s, Is, 




1 ! If M 1 
1| *1, 1 \>\ t .1, 


86, I 


~~ 


f. In, r, Ire r 


G.t.m.l 

1 
I 
I 


s. In 
PI, In, 

came to 
came to 
looked to 


r Id 

1 1, Is, 

Je - sus 

Je - sus, 
Je - BUS, 




d 11, 

as I 
and I 
and I 


( 
i 


s. Is, 

wan, \\Ya 
Irunk Of 
ouiid, In 


- 


d Ir ,n |f In .r 


r :- 

t, I- 

sad: 
stream; 

Sun ; 


\ 
1 


n. If, .s, 1, ,t| Id 


ry, and worn, and 
that life - giv - ing 
Him, my Star, my 


I de m.r 
Ir 


d I- .s, 
d Id, 


|1, .t, Id 




d Id j 


n Ir 

d It, 

f Ir 


fff 


d Id ,t, |d j In.f 


S I- 

s, I 
d I- 





d| ,r In, 
n In 


f, n,_.t, 

_ 

1 I- .8 


1, 11, _.BI f. Id, 
d In s I- ,t. 


s I- .f 


Is, 


S, I- ,S| 


s, 11, 




i, :- a, n, n, _ 


.t, 


d Id It, I-- .8, 


8, I- 





i 

My 

And, 


found in Him a 
thirst was quenched, my 
in that light of 


rest - ing-plce, And 
soul re - vived, And 
life, I'll walk Till 


He has made me 
now I live in 
trav - 'ling days are 


glad. 
Him. 
done. 




It, .d 


r I- .r 


d Idej 




m I- .n 


r If 




n Is f I- S 


n I- 





Is, .1, 


t* 4. 
1 *~~ "! 

4. KEYF. 


d 11, .t 




de I- .de 


r If, s. Is, s, I- .8, 

^HE STORM. 


d, I- 

BORM 


HABDT. 


ftt 


Luh is D. Maestoso. 


i 


;I 8 n.n 


1 I- .1 


PI I- ,d 


1 Il| 




In ,n 


t I- ,t se I- .ba n In 


In ,n 


iI 8 m.m 


i i- a 


n I- .d 


1 :l| 




In .n 


t I- .t se i .ba n In 


In .n 


V When the 
\2.Or if 
JS.Inthe 

I 8 n.n 


clouds in v 
viv - id 1 
than - der, i 

i i- a 


ild con- 
ght - nine 
n the 

n I- .d 


fa - sion, 
flash - ing, 
show - er, 

1 11, 




Hides the 
Or if 
I be- 


sun - Bet's brief il - In - sion, 
waves of o - cenn dash - ing, '\ 
hold His love, His pow - er, 

t I- .t se I- .ba n In 


In the 
Vould af- 
Con the 

In .n 


'l s n.n 


i ;- .1 


n I- .d 


1 Il| 




In ,n 


t I- ,t se I- .ba n In 


In .n 



SIXTH STEP. 14' 


s* =- >- =- D.t.m.l. p Andante. 


1 IPl 
1 IPl 


d 11, 
d 11, 


PI I 
PI I 


I de m.f 


s :- ,s s 

PI I ,P1 


.1 It .d 1 


r 1 I-.t 


s 

If 


Is .s 

If .f 


S_ a 
.8 

n I-.n 


sj 


:t.d' 


n In 


f I- 


n 


In 


ter - ror of the 
fright my stead-fast 
true heart stoop to 


night, 
soul, 
fear? 


Still my 
In the 
Lo, the 


heart is cheer - ful 
Fa - ther's love a - 
bow of prom - ise 


sing - - ing, 
Idd - - ing 
cheer - iug, 


Un-to 
I be- 
On the 


Hope's strong an-chor 
hold the strife sub - 
eve - ning clouds ap - 


1 IPl 


d 11, 


PI I 


I m S ,S 


d :-.d' 


I 1 is 


S I 


t 


It .t 


d' I- .d 1 


d 1 


Id' 


1 I m |d 11, 


PI I 


- I'.d,d 


d I ,d 


d Id 


s I- 


s 


IS, .8, 


d I- ,d 


d 


Id 


r 1 I- .t 


s Is .s 
f Is .s 

ug; Or in 
ng; Wave auc 
ug! In the 


PI 1 IPl 1 

s Is 

storm or 
wind in 
west, now 


r l ; r l 

|f If 

dusk - y 
His con - 
doub - ly 


d' I- 

PI I 

night, 
trol 
clear, 


d 1 It .1 


s Id 1 |t .d'lr .t 


d 1 I 

n I 

light. 

soul, 
pear. 




- 


f I- 

cling - i 
sid - - i 
pear - 3 


f If 

I a - 
May not 
Doth the 


m In 

wait the 
harm the 
beauteous 


r,.nlf ,r 


sheer - ing 
trust - ing 
sun ap - 


t I 


r 1 It .t 


d 1 Id 1 


|t It 


d 1 I- 


1 Id 


d 1 Is 


s Is 


S I 








S I 


s .'S| ,S| 


d Id 


s Is 


1 I- 


f If 


s Is 




s. Is, 


d I 




- 



DAWSON. 



S5S5. KEY C. 


u. 


d, :- .d 


n Is 


f 11 |d' Is 


n 1 I- .n 1 


r 1 It 


d 1 In" Ir' I 


d I- .d |d Id 


d If 


s If 


n I- .s 


s Is 


s Ife 


s If 


.Now, my 
' 2. Through His 
i.Je - BUS, 


soul, thy 
heart the 
may these 


voice up - rais ing, 
spear is pierc - iug, 
pre - cious fount - ains 


Tell, iu sweet and 
Though His foes have 
Drink to thirst - iug 


mourn-ful 
seen Him 
souls af 


strain, 
die; 
ford ; 


f n I- .n 


s Id 1 


1 id' Id 1 It 


d' I- .d 1 


t ir 1 


d 1 Id' 


t I- 


* d I- .d 


d In 


f If 


n Ir 


d I- .d 


r If 


n Ir 


S I 


r.s.d.f.Ab. 










/ d n I-.n 


r It, 


d 11, 


s. In, 


1, :- -t, 


d Id 


r Ire 


n I \ 




s, If, 


PI, If, 


n, Ini 


f, I- .8, 


s, In, 


1, 11, |se, I / 


j How the 


Cru - ci - 


fied, en - 


dur - ing 


Grief, and 


wounds, and 


dy - ing 


pain, 


\ lilood and 


wa - ter 


thence are stream - ing 


In a 


tide of 


mvs - ter - 


y. > 


(Let them be oxir 


cup and heal - ing 


And at 


length our 


full re - 


ward: f 


d 'n :- .d 


t, ir 


d Id |d Id 


d I- .d 


!d Id 


d It, 


t, I- 


m :- .d 


S| IS) 


1, If, 


d, :d, 


f f 
li .- .i| 


n, .l\ 


fi :f, 


, / 


C.im.l.r. 










"d 1 :- .d 1 


s Id' 


t 11 


s In 


f I- .f. 


n Id 


n Ir 


d I 


se .n I- .n 


|f Is 


s If 


n Id 


d I- .d 


|d Id 


d Iti 


|d I- 


Free - ly 


of His 


love was 


off - ered, 


Sin - less 


was for 


sin - ners 


slain. 


Wa - ter from our 


guilt to cleanse us. 


Blood to 


win us 


crowns on 


high. 


So a 


ran - somed 


world shall 


ev - er 


Praise Thee, its re - 


deem - ing 


Lord. 


*.s I- .d 1 |t Id 


d 1 Id' 


|d> Is 


d 1 I- .d 1 


d 1 Is 


s If 


n I 


".d :- .d 


r In 


f If 


Id Id 


1 I- .1 


s In 


s Is, 


Id :- 



150 



SIXTH STEP. 
THE LIGHT AT HOME. 



35O. KEY F. Moderate. 


WM. MASON, Mus. Doc., by per. 


!BI 


1, 


J. 


-,t, d 


:r 


n :1 




s :m 


d :d 


|f :n 


r :- .d Ir 


l| 


(.8, 

U.The 


s, :- 

light 


- ,S| |S| It 
at home ! how 


d :d 

bright it 


b 


d :d 

ams, VVher 


d :d 

i eve - ning 


It, :d 

shad - ows 


round 


us fall ! And 


< 2. When 


through the dark and 


storm - y 


night, The 


way - ward 


wan - d'rer 


home - ward hies, How 


,3. The 


light 


at home ! how 


still and 


sweet, It 


peeps from 


you - der 


cot - tage door, The 


|:n 


f 


J_ 


- JC PI 


IB 


s :f 


PI :s 


1 :s 


8 IS 


s : .s s :t| 




d 


' - 


.d d 


:s. 


d :d 


( 


1 :d 


f : 


PI 


r :d 


s, :- , 


S, S 


' : 


S| 


1, 


:- .t, 


d :r PI 


:1 s 




In r 




r |1 


L :fe 


s I 


*1* 


8| 


:- .f, 


pii :s 


1 8, 


:d |t 


:le, t 



i - 


ti < 


1 :d 


t, :- 





:i 


ta, 


from 


the 


lat - tice far 


it gleams, To s 


Dothe and com - fort 


all. 


When 


cheer 


ing is that twiuk-ling light, 


Which t 


irough the gloom he 


spies! 






it 


wea 


ry la - bor - er 


to greet, When t 


jils 


of day are 


oW! 


Sad 


d 


I- .r 


d :t, d 


:n PI 


:s s 


:- .s |fe :l 


s : 


:s 


S| 




i 


1, :s 


i d 


:l, r 


i 


:de r 




r i 


:r 


s, :- 


:s 












r. s. d 


f i>>. 


r :- 


.PI 


f 


:l 


r 1 :d' 


t J're 1 


PI 


:d< s 


:f 


f 


I-.Pl PI ! 


m ba :se 1 


:t 


1. :- 


,de 


r 


im 


r :r 


r : r fe 


s 


:m n 


:r 


r 


:-.d d : 


d PI : 


PI 


n 


:n 


wea - 


ried 


with the 


toils of day, And 


strife for glo - ry, 


gold or fame, How sweet 


to 


seek 


the 


is 


the 


light at 


horn ; he feels Th it 


lov - ing hearts will 


meet him there, And soft - 


ly through Ins 


is 


the 


soul that 


does i.ot know The 


blessings that its 


beams iui - part, The cheer-ful 


joys 


and 


l :- 


.8 


f 


:m 


f :fe 


s im 1 


d 


:s |1 


:t 


t 


:-.d' d 1 :d PI' : 


r' |d' 


:t 


f :- 


.PI 


r 


:d 


t, :l 


s, : f ,l, 


i 


:BI IB, 


:s, 


d 


:-.d d :d d 1 : 


t 


1 


it 








F.t.m 


l.r. 






















d' : 


-.t 


It 


:*s 


d 1 :s 


f :n 




PI :-.r 


d :l 




1, :-.s, 1 


:d 


i : 










.re 


re : r 't| 


d :d 


d :d 




t, :~.t, 


d :f 




Pl| l- ,P1| F 


i, :l. 


*, ' 








1 4i - 


et 


way. Where 


lov - ing 


lips will 


lisp our name, A - 


round the light at 


iome. 






< 1.0 - 


som 


steals, The 


joy and 


love that 


ban - ish care, A - 


round the light at 


lome. 






j hopes 


that 


flow, And 


light-en 


up the 


heav - iest heart, A - 


round the light at 1 


iome. 






1 - 


-a 


11 


:*f 


PI *.S 


1 :l 




s : .f 


PI Ir 




n :-.m d 


:f r 


n : 








1 fe :- 


-.fe 


fe 


jfej- 


d Jpi| 


f, :fe 




si :-.8, 


|1 :t 




d :-.d 1 


:f, c 


li : 









P rr. 


KEY A. 


Allegretto. 


:s. 


s, :l| 


:t, |d :t, :1| 


t, :- 


is. 


s, :- 


- !S| 


8, 


:s. 


s, : 


I.She 


comes 


to 


us 


a 


maid 


2, She 


loves 


to 


hide 


her 


blush 


3. We 


can - 


not 


choose 


but 


love 


:pi 


PI :- 


- IP! 


m : 


:pi 


f :- 


:d 


d :- 


- :d 


8, 5 


:s. 


r : 



APRIL. 



H. E. NICHOL. 



It, 

I 8, 
en, 
es 
her, 

If 



-:s, 


r :n 


:f 


f :n 


s, :- 


ti : 


With 
Be - 
A 


half 
hind 
maid 


a - 
a 
and 


vert 
veil 
still 


- :m 


r : 


:r 


s : 


:l, 


t, :- 


:t, |B, : 



:r 



ed 
of 
a 

:s 



PI ' ' - I *8| \ 

d ' | ' !S| l 

Her ' 

f r, jgS But > 

i; (The) The . 

:- :- |- : in) 



face, 

show'r, 

child; 



d ; 



SIXTH STEP. 



151 



E.t. 








s; rl, :t| d :ti u. 


r I I r I I r s 


se I Ise se Ibe Ise 


1 I 


I | d 


' ' 


S| I IS, Si I IS, 


S| I I S| I I s .d 


r I Ir r I Ir 


d I 


I PI 


al I 


hands with buds are 


la den, Her 


form is full of 


grace, Her 


soon her weep - ing 


insh - es, Grown 


hap - py in an 


hour, Grown 


stars are bright a - 


iove her, 'The 


ver - y winds are 


mill 


The 


ml In n I In 


r I I r I I s d' 


ft f f f 
U tu u i v 


1 I 


- :- 11 


t 

t 


d I Id 1, I 11, 


tt t 4. t tf 
t t t| t t T in, 


n, I In, P\\ I In, 


f I 


- :- Ife, :- :- 


' r.s.d.f.C. L'ih is A. 


s In Is n I Ir 


d : : | i : d pi 


ba Ise II 1 :se Iba 


se 


. t if f 

> t | U i 1 1 


n I Id |t| I It, 


d : : : : d n 


n I In n I In 


n 


I p 


i I In < 


form is full of 


grace. So 


ten - der, shy, ca - 


pri 


cious, So 


hap - py in an 


hour. She 


pour.; a tide of 


splen - dor O'er 


ver - y winds are 


mild. She 


sets our fett to 


danc - ing, She 


f d 1 I in f I If 


n I I. I i"ise 


1 It Id 1 d 1 It 11 


t I 


I S 


Q Jgg 


s ( : IS) JS| I Is, 


d I : [ : : d n 


n I I n I I- 


m : 


- I P 


1 I I 


So 


ten - - der, shy, 


c 


Slie 


pours, etc. 






She 


sets, etc. 






'" - A. 

d 1 Ir In 1 n 1 Ir 1 Id 1 t I Ir 1 n 1 I Id 1 


t.m.i. ^== ran 

*r I It, d I II 


r I- I 


- s, I- 


n I In n I In n I In n I In 


"S, I IS, fCi I Ife, 


f, I- I 


- I 


d"W - y, sweet and fair, so sweet and 


fair, so sweet and 


fair. 




all the wait - ing earth, o'er all tl e 


wait - ing. wait - ing 


earth. 




stirs our hearts to praise, our hearts to 


praise, our hearts to 


prais^. 




1 It Id 1 Id 1 It II se I It d 1 I 11 




set, I Ir !1, I Id 


d I- I 


- t, I- 


n I I n I In n I I n I I- 




"s, I I s, I I 


s, I I- 


- I 


pi'i cious, so dew - y, 


sweet and 


fair. 




a tempo. 







f 




is, S| ill :t| d it, :1 t : : t| : id 


r In If f In Ir 


n 


I I 


- 1 If 


IS| S| I IS| S| I IS) S| I I S| I IS 


1 


s, I Is, t, I It 


d 


I I |' 


:, I It, 


Our A - pril is de - li - - cions, What 


ev - er guise she 


wear; 


Our 


Our A - pril, sad an 1 ten - - der, Or 




gay and full of 


mirth; 


Our 


Our dar - ling A - pril, glanc - ing A - 




long the gold - en 


days; 


Our 


If n I In n I In f I I f I In 


r I Ir s I Is 


S 


I I 


- I Is 


.'S| d I id S| I Is r I I S| I II 




t* *4- o , * *c, 
I t - t u D | o | 


d 


Our A - pril 


Our A - "pril, etc. 


Our dar hug, etc. 




rail. 






j if in |i : _ :s 


f In Ir s I- If 




n Ir Id f I It, 


d I 


I I 


d : id 1, it, :de 


r Id It| d Ide Ir 


d It, Id 1, I Is, 


s, I 


t 


A - pril is de - 


li - - cious, "What - 


ev - er guise she 


wear. 




A - pril, sad and 
dar - ling A - pril, 


ten - - der, Or 
glanc - - ing A - 


gay and full of 
long the g Id - en 


mirth, 
days. 




s I- Is f Is II 


1 I- I- S I 11 




s If in r In If 


n I - 


""""" """""" 


n, lT| Id, f| I in. 


r ( Ini Jf| n, I If 


s< i is, |s, : is. 


d, :- - 


t 

t ~~" 


is x de U < i * cious. ,-' 









L52 












SIXTH STEP. 








/358. KETD. 


FAREWELL. 


P. DAVID. 
/ A.t. 


/Is 


d 1 : 


-.s 


n If s 


:-.n 


d Id 


r I- f I- 


n I 


Is 


d 1 :-.s 


"1| It, 


v s 


d 1 : 


~s 


n If s 


I-.n 


d id 


d I- |t, I- 


d I- 


Is 


d 1 I-* 


"I, it| 


Jl.Fare- 
<2.Then 
M.Fare. 


well ! 
wel - 
well! 


the nev - er - m 
come bold - er lit 
yet where-so - e'< 


ire has come, pthe 
e, wide air, /and 
;r you go, p we 


nev - - er - - 
larg - - er 
breathe a 


more ! 
scope, 
spell, 


Fare- 
Then 
Fare - 


well ! the nev - er - 
wel - come bold - er 
well ! yet where-so - 


/Is 


d 1 ! 


-.8 


n If s 


I-.n 


d Id 


8 . 8 . 


8 I- 


Is 


d 1 I-jj 


n l| t| 


:s 


d 1 : 


-.s 


n If s 


I-.P1 


d Id 


S| I 8| I 


d I- 


- IS 


d 1 I-.s 


"1, :t, 


f IX Animalo. 


( d : 
d : 

more 
{ life, 
] e'er 


-.t,|l, Id 

-.t, 11, :l, 

has come, p the 
wide air, f and 
you go, p wo 


n I- 

l. :- 

nev 
larg 
breathe 


n 

se, 

er 
er 
a 


I 


1, I- I'.n 

more ! In 
scope; A 
spell; A 


f I- .n | 
r I- .d 

boy - hood'h 
bon - ny 
thous-aud s 


r Ir 

fair - y - 
wel - come, 
mtes at 


n I-.f 
d I-.r 

land, I \ 
bon - ny 
our coini 


n In 
d Id 

vcen, With 
world, A 
naud.'Twixt 


d' I 


-.t. 


1, 


Id 


d I- 


- It, 


. 


d 


I ttm 


1 


I-.1 | 


1 If 


n I-.1 


1 11 \ 


* d' I 


-,t||l. In, 


n, I- 


n. 





1, 


I : ] iin 


r 


:-.l, 


r If, 


1, :-J, 


1, :l, 


f I 

r I 


-.n 
-.d 


f 

r 


Ir 


d 1 I- 

n I- 


.t 1 
j d 


In 
In 


r 1 
n 


] 
I- d 1 I- 

I n I 


n d I 


In 
Id 


8 I 


f :r 

t, :- 


d I- 


Fan 
bon - 
you 


- cy, boy-hood's 
ny light on 
and UK, from 


fair - y queen, 
sails unfurl'd, 
fair - y - laud ; 


/On 
/ Oh ! 
p Brook 


life's great 
wel - come 
no fare 


shore, 
hope, 
well, 


on 
oh! 
brook 


life's 
* 1 
no 


great 
come 
fare - 


' 1 : 
r : 


-.1 

-,n 


1 
r 


If 


1 I- 

1, :- 


.n | n 

a, i, 


Id 1 

:l. 


t 


I- jl I- 


8e n I 


Is 


n I 


r If 


81 I 



r.s.d.f.D. 



d n I 


In 


t 


In 


d ! I- 


In 


se I 


In 


1 





d n I 


In 


$n 


In 


n I 


In 


n I 


In 


n 





shore. 




( r _ 


In 


d I- 




4- J 
1 


In 


d n 


^_ 


hope. 
















well ! 


/ To 


stand and 


work, 


and 


dream and 


tin am, .... 






pThen 


go, then 


go. 


the 


while, the 


while 






p Fare - 


well, the 


o ' 

good 


old 


days live 


on 




m se I 




In 


se I 


In |T I 


In 


t I 


Id 1 Id' : 


To stand, 


to stand, 


aud work, 


and dream, 


and 


ilreani. 


Then go. 
Fare - well, 


then go, 
the good 


then co, 
old days 


the while, 
live on, 


the 
live 


while, 
on, 


d n I^i 


n I 


(In 


se I 


In 


1 ) * 


J 





In 


d 1 It 






(In, se| I 


in, 1 * I 




x'o 
Tbo 


Htund on 
while our 






The 


good old 













SIXTH STEP. 15J 


* 





:l i 


Is f 


Ir ! 


j I |s I s I 


Is 


d I I 


I 





In f 


In r { 


: ! U ' 


i i- d I- d I |t, I- 


d i I 




To st 


T,nd on life's 


rrpnt. i 


ihore, to work and 


, 






Our vc 


ic - es meet and 


swell in blithe fare - 


, r ?i* m> 






The gc 


>od old days live 


in, old days live 


1 ____^__ 


I 





O 

Id' r 1 




If 


n I na I r I f I 


n I I 


1 Is 


f 


In r 


in |f 


Ifi 


3| I JS| I S| I 


s, I 


d is, d In 


life's great shore, 


Hark ! hark ! the 


voic - es 


meet, 








Our voic - es 


days live on, 


They shall not 


P 








P 


dim. pp ^ 


In 


r If n I 


In 


r If n I r I 


n I r I n I 


Id 


d It) d I 


: 


Id 


|d :t, d I |t, I 


d I |t, I- d :- - 


The 


old school- bell 


now rings your kuell, now 


rings your knell. 


Our 


voic - es meet, 


our voic - es swell, in 


blithe fare - - well. 


They shall not lie, 


p ~=^ 


not be for - got, shall 


not, shall not. 


Is 


s Is 


s I 


; 


Is 


s Is s I s I 


s I s I s ! 


s I 


S| I d I 


s, d In 


s I- 


- S| I d I Is, I 


d I |s, I d I I 


old 


school - 


bell now rings your 


knell. 


your knell. 


meet, 


and 


swell 


in blithe, in blithe 


i'are - well. 


be 


for 


got, they shall not 


be 


for - - got. 












MIDNIGHT CRY. 


?$5O. KEY C, 


Sir G. A.MACFABKEN. 


,Is s 


I- .8 


1 11 


d' I-.s $ 


s Is 


s Is s Is si Is.d 


n 1 I-.d s Id 1 x 


Lin n 


I-.n|f If 


s I- .n n In 


f If f If n I- - Is 


s I- ,s s Is / 


Il.Be- he 


)ld the Bridegrooi 


n com - eth in the 


mid-die of the night, And 


blest is he whose V 


\2Be- w 


ire, my soul, take 


thou good heed, lesl 


thou in slum - ber lie, And. 


like the five, re - / 


/Id' d 


;-.d' 


d' Id 


n 1 I-.d 1 d' Id' 


r 1 It d 1 Ir 1 si In 1 


n' I- .PI' n 1 In 1 \ 


^Id d 


:-.d 


f If 


d I-.d d Id 


t. Is, 1| It| d I Id 


d I-.d d Id 1 ' 






G.t. 






r.s.d.f.Eb- 


vl * 

/". *~ 


.t s 


I 8 d.n s 


I-.d |d 


:t| 


d :- : d n f ;-.f s if 


f I-.n n If ,s v 


r . 


.s s 


I 8 d d 


I- .8, 1 1, 


Is, 


s, I I s .t, r I-.r r Ir 


r I-.d d Ir.n / 


i 

1 loins 


are girt, 


whose la 


mp is burn-ing 


bright; But woe to that dull 


serv - ant whom his V 


v main with-out, 


and k 


aock, and vain 


- ly 


cry; But watch, and bear thy 


lamp undimm'd, and / 




4-' r 1 


I r .S Pi 


I-.n |f 


If 


n I I n se 1 I-.1 js Is 


s I-.d' |d' Id'.d'\ 


Mt :- 


.s |t 


I*n.d s 


;-.s,|s t 


Is, 


d I I d n r I-.r 


t It, 


d I |d Id.d' 






C.tm 


i. 






,\ :l 


It :- 


-.1 8e t I 


- |1 Is 


s Is 


1 11 d 1 I-.s s Id' 


r I-.s|l It d 1 I 


f :d 


r I- 


-.d "s I 


- f If 


n In 


f If s I-.n n In 


f* r * f* 

s l-.f f If n I 


/ master shall sur- prise, 
\ Christ shall gird thee on 


With 
His 


lamp uu-trimm'd, un- burn -ing, and with 
own bright wedding- robe of light, the 


slum -ber in his eyes, 
glo - ry of the Son. 


/ d' 11 


se I-.1 *r I 


- |t It 


d 1 Id 1 


|d' Id 1 n 1 I-.d |d' Id 1 


t I- ,t|d' ir 1 d 1 I - 


V f If 


If f n 'a, 

|1 .1 S J S| 


d Id 


|f If d I-.d|d Id s, I- ,S| s. Is, d I 



154 



SOP. 



ALTO. 



SIXTH STEP. 
JACK AND JILL. 



r$OO. KEY F. Lah in D. 



n I In |r I If 

Jack nnd Jill went 

d I Id it,I Ir 



m 

up 



:m |r : :f 

tiie bill, To 



d I Id It, I I] 



m : :l 

fetch a 

d : :d 



pail 

In : 



:t 

of 

:r 



t 

wa 

r 



S.&T. 



ff 

d 1 :- :t |1 :-:s 

Jack fi-11 down nnd 

d : :t, |l| : :s, 



FINE. 



f I In |r I Id.r n 

broke his crown, And 



f I In |r I Id.r 



ir |d I- It, 

M ne tniu - bling 



n I Ir Id I It 



II. :- 

ter. 

H, :- 



d : in |r : in 

lioos - ey, guns - - cy 

m, : :s, |f, : :s, 

d :s, :s, s, :s, is, 

ley, ihd-dl-, di I- lie, the 

d, :d, :d. Id, :d, :d. 



d I Is, |n, I Is, 

L;;IM - - - der, Oh, 

n, I I i PI, I In, 

s, Is, Is, s, Is, Is, 

it and the fid - .lie. The 

d, Id, Id, |d, Id, Id, 



d I In |r I In 

whitli - t-r dost thoii 

n, I Is, |f, I Is, 

s, I Is, s, Is, Is, 

row jiiinpi 1 o - ver the 

d, I Id, ;d. Id, Id, 



d I I 

wan 

n, I I 

S, I I- 
moon; 

d, I- I- 



;d I I 

der? 

|n, I I 



The 

in. 



/ A 

m d 


.t. in 


l.r 


r I- 


In 

and 

Is, 

Is, 

to 


d 


j 


: 


s. 


n, 1 

tairs, 

n, I 

s, I 

Prt, 
d, I 


S| 
And 

d, 


Is, 

And 

In, 

Is, 

the 

:d, 


Up 
se.Pl 


stairs 

i- :s, If, :- 


down 

n, I- 

s, I- 

see 

d, I- 


fi 



:s, 

such s 

:d, 


t,8, 

lit- 

d, 


Is, 

tie 

:d, 


Is, |s, I 

dog laugh'd 



r.R.d.f.F. 



D.S. 



d I IPI |r I In 



my la 



dy's 



n, I Is, |f, I Is, 
s, Is, is, |s. Is, Is, 

dish run a - way with the 

d, Id, Idi Id, Id, Id, 



d n I I 


n : 


I 


chain - - ber. 




".se,! : 


se,l 


I 


',t, I- I- 


- i 


I 


spoon. 




d,m, _ : _ i_ 






SOP. 



ALTO. 



P 












n : 


In r 


: if 


n : 


In 


Ir I- 


:f 


Jack 


and Jill 


went 


up 


the 


bill, 


To 


d I 


Id t. 


: ir 


d I 


Id 


It, I- 


Ir 



n I il |d< I It 

fetch a pail of 

d I Id |PI I Ir 



t 

wa 

r 



;_:_H :_;_ 

- ter; J. 

; _ ; _|d :--^ ) 



S. AT. 



A-&B 



ff 

d 1 ; :t |1 : :s 



.Jack 



fell down and 



d I It, II, I IS, 



f ! Jn |r I Ida- 
broke his crown, And 

f : :n |r : :d.r 



n I ir |d I It, 

Jill mine turn - bling 

n I Ir |d I It, 



af - - ler. v 

1, :- : u, :-: ) 



SIXTH STEP. 



155 



; $ D.t.m.l. 


p 






^^^ 


_ 

" 


___ ^ 


p 


de nln :n 




n : :n 


n :n :n 


n : :n 


n Jn Jn 


n : 


ifcT 


S 
^~ 


: :se 


] id Jd Jd 




r : :r 


d :d :d 


r : :r 


d Jd :d 


d : 


:d 


t, :- :- 


: :d 


( Lit-tle Jack 


Hor - uer, 


sat in a cor - ner, 


Eit-ing his Christ - 


mas 


pie; 


He 


m s Jn :s 




se : :se 


1 :n :1 


t :- :t 


1 Jn Jl 


1 : 


:r 


r : : 


: :n ' 


i,d :d :d 




It, :- :t, 


1, : 


i, a, 


se,:- :se, 


1, :l. :l H, :- 


:r 


s, : : 


: :d 








-^^^ ^ 


: ff 


l.s< time. 


DS. 


2>/ time. 
s.d.fF. 


D.C. 


1:1:1 


1 


j- :1 


1 :1 :1 


1 *1 *] 




1 :l :l |1 :- :t 


d 1 


j j 


: : 


d 'l :- : 


. 


d :d :d |de 


:- :de 


r :r :r 


n in \\ 


n 


f :f :f 


f :- jf 


m 






: : 


n de:- : 


; j 


nit in his thumb, and 


pulled out a plum, And said 


' ' what a good boy am 


L 1 






i." 




f :f :f 


s 


:- IB 


f :f :f 


s :s :s 


f :r :l 


s :- :s 


S 


:- :- 


: : 


s n:- : 


: : 


f :f :f 


n 


:- :n 


r :r :r 


|de:de:de 


r Jr Jr 


s :- :si 


d 


t 



t 
t 


*!, :- : 


: : 



ti 

(| 



ALL MERRILY SINGING. 

From "FAUST." 

(NOTE. The first movement is to be sung as a round in four parts, tlie Soprano, Alto, Tenor and Base following each other consecutively.) 
J5OI KEY Ai?. * 

n : : |f :n :r id : : |s, : : id : :n |r : :s is : : | : :- 

All mer - ri - ly | sing - - ing, | Fill with mirth the | air; 

FINE. 

jln : : |f :n :r id : : s, : : id : :n |r : :s. Id : : | : :- 

^ I Bells cheer-i - ly | ring - - ing, I Glad - ness ev - - 'ry - I where. 



",d': : |d> :t :1 


s : :n Id : :r 


n : : 


s Jn Js 


1 J 


*,d j ; 


d :d :d 


d :- :d 


d : :d 


d : :- 


d Jd Jd 


d J 


I.Far o - ver the 
2. Glad inel - o - dy 
3.O beau-ti - fill 


fields they come, With 
fills the breeze, And 
sil - - ver bells, That 


hearts mer-ry and 
glides gai - ly a - 
ring, cheer-i - ly 


free, 
long, 
ring, 


*n : : 


n :n :n 


n : Is 


n J Jf 


s : : 


n Jn Jn 


n J 


m .l, : : 


1, :l, :l| 


d : :d 


d J Jd 


d :- : |d :d :d 


1, : 



f.AJ* 



D.C. 



d 1 : : |d> Jt 
d : : |d Jd 

Birds car - ol 

play-ful - ly 



Borne 
Still 

n 



In 



Jl 


s 


: :n 


Id :- 


:r 


n 





s 


:n 


:s 


in: 


Jd 


d 


: :d 


d :- 


:d 


d 


: : 


d 


:d 


:d 


*,:- 


wher- 


e'er 


they roam, 


And 


woods ech 


- o 


their 


glee. 


- ly 


o'er 


the lake 


Where 


waves ri p 


- pie 


with 


song. 


the 


fair 


- y dells 


What 


jJ 


ev 


- er 


they 


bring. 


:n 


n : 


:s 


n : 


:f 


S 





n 


:n 


:n 


"t,:- 


:l. 


d : 


:d |d : 


:d 


d 


:- :- |d 


:d 


:d 


to,:- 



156 



SIXTH STEP. 



QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 

DOCTRINE. 



1. What are transitions to the first sharp or 

first flat keys called! 

2. What are transitions to the second sharp or 

second flat keys called? 

3. What interval, upward or downward, is the 

music moved in two sharp removes ? 

4. What tones of the old key are omitted ? 

5. What now tones are introduced? 

6 Which of these is the more important, and 
why? 

7. Wliero is this new tone placed in the signa- 

ture? 

8. In two flat removes, by what interval, upward 

or downward, is the music moved? 

9. What tones of the old key are omitted? 
10. What new tones take their places? 

11 Which of these is the more important, and 
why ? 

12. Where is this new tone placed in the signa- 

ture ? 

13. What is the mental effect of two sharp re- 

moves ? Of two flat removes ? 

14. What is oscillating transition I 



15. What are transitions to third sharp or third 

flat keys called ? 

16. In three sharp removes, by what interval, up- 

ward or downward, is the new key moved? 
In three flat removes ? 

17. In three sharp removes, what does Lah be- 

come? 

18. In three flat removes, what does Doh become ? 

19. On account of the relation between Lah and 

Doh of the two keys, transitions of three 
removes are commonly what ? 

20. AVhat is the mental effect of a transitional 

mod ii hit ion of three flat removes ? Of three 
sharp removes? 

21. In three sharp removes, what tones of the old 

key are displaced ? 

22. What new tones take their places? 

23. Which of these is the last new sharp, and 

where is it placed in the signature? 

24. In three flat removes, what tones are dis- 

placed ? 

25. What new tones take their places? 

26. Which is the last new flat and where is it 

placed in the signature ? 



27. In transitions of four sharp removes, by wh* 

interval, upward or downward, is the new 
key placed ? In four flat removes ? 

28. In four flat removes, what does I><>h become f 

29. In four sharp removes, what does Me become I 

30. In four flat removes, what tones are dis- 

placed? 

31. What new tones take their places? 

32. Which of these is the last new flat, and where 

is it placed in the signature? 

33. In four sharp removes, what tones are dis- 

placed ? 

34. What new tones take their places? 

35. Which of these is the last new sharp, and 

where is it placed in the signature? 

36. What is the commencing, closing and prevail- 

ing key of a tune called ? 

37. What are the other keys called ? 

3<j. What are transitions from and to the Princi- 
pal key called? 

39. What are the transitions between the Subor- 
dinate keys called I 



PRACTICE. 



40 Follow the Examiner's pointing in a volun- 
tary containing transitions of two or throe 
removes. 

41. Sing your part in Exs. 340, 342, 344, which the 
Examiner may select. 



42. Sing your part in Exs. 351, 353, 354, which the 

Examiner may select. 

43. Sing your part in Exs. 355, 359, which the 

Examiner may select. 



44. Sol-fa and point on the modulator from mem- 

ory an example containing transitions oi 
two and three removes. 

45. Write from memory a similar example. 



167 



MISCELLANEOUS. 



SLUMBER SWEETLY. 



KEYBf?. Dolce. Sempreeleg 

m, if, :fe, s, :d :m 


ato. (SERE] 

r : :d |t, : :l ( 

se,: :l, |s, : :f, 

sweet - ly, dear - est, 

t, : :d |f :d :i, 


^ADE.) 
S, 1 lt|J||S| If JPl 


i f /1 a 

r ~~~ u. s, t 

t f n , 1 J _, t -u A 


d| lT| Ire) n, ' IS) 


r, Ire, I PI, |f, II, Is, 


Slum - - - ber 

d :t| :l| |s, :m :d 


Close thy 

t| Id Ide r It, Is, 


wen 
S, 11, 


ry eyes. 

IS| PI If, Ife, 


d, : : : :d. 

Slum ... },,! 

PI, :f, :fe |s, :d :m 


sweet - ly, 

F.t. 

ml c a * *f 
1 S S I 

fe .t,:d :de r :t| iS| 


a 

o , t D 2 * 

Close thine 

PI Id If n I Ir 


d, I- 

eyes, 

d : 

d I- 


. i 

~* t ~~~~ t 

I, | s, t 


PI, Iij Ir6| pi|I :S| 


d I Id |d 11, It, 


Guard - ian an - gels 

s. It, II, |s, IPI Id 


round thee ho - ver 

! .r :re :m If :r :t ( 


Till the morn - ing 

d I PI II s Ife If 


rise, 
PI I 


f m 
i rl 


f.Bl?. 

8 r : :de r :f 


:m r :d :1, 


d, I Id, S| I Is, 

s, I Id s, I 

PI, Ir ( Id t 2 Id, 


d : 


/ 


Is, 
Ide, 

thy 

He, 

Id 
:li 

ions, 

Id 
If. 

d I 

d, I- 

sleep. 
PI, I 

d, I- 


S| Ife, Is, 


fcf, : :m, |f, :l. 


on air - y 

:t| d :- :d 


heart. iu 

t, II, Is, 


Then may love 

m t| Is, lie, |t, !S| 


pin - ions, Bear 

d Is, In, s, II, 


do '_ *o c * 

iS 2 f .S 2 S 8 

1, Is, Ife, |s, I 


d, I Id s a I 


S 2 S 2 

t. Id 11, \ 


: mi :f t :fe, Isi :d :PI r : 


re, Ipi| Ire, PI, '. I di lr\ Irei 


pii I Is, se, I 

own do - rain 

S| IPI Id t| I 


86, 11, If, / 


trans - port bound, To its 

fe, is, :l, s, :- : d :t, :1, I 


Where no \ 

r Id Id \ 


d, : :d |d, :- 
s, :d :m r : :si 


: d, :- :d| I 

Ritard. 

d : : s : :s 

PI, I ' |s, II, it. 


d, I- Id f, I- 


f, :- -f, 


^ ~ 


"~ ~ 







PI, : is, |fe, : :f| 

earth - ly care is 

d : :d |1, : :t, 

Sj ^~~ Sg 83 r, S| 


d I I PI, I Ir, 

sleep, Maid - en 


found; Maid - en 

d : : |ti :d :r 


d, : : |s, : :s a 



158 



MISCELLANEOUS. 



MY DREAM. 



KEY A i?. 



(SONG WITH VOCAL ACCOMPANIMENT.) 



T. F. SEWABD, by per. 



.s, Id .r 


PI :- ,d It, .d 


r I- ,s, Ir .PI 


f :- .1 :s S 


n ' .8) Id .r 


1. In light and 


shade the soft winds 


played, Where clo-ver 


blooms a - long the 


stream; Bent low the 


2. And bask -in g 


there iu perfumed 


air, And iii the 


sun - - shine's golden 


beam, Two hearts a - 




PP 








I SOP. 


si ,s, is, is. 


S, .8, IS, IS, 


S, .8, IS, IS, 


8, .8, IS, IS, 


I ALTO. 


HI .m, Ipi| Ipi| 


f, .f If, If, 


r j, Ir, Ir, 


n, .PI, In, In, 




La la la la 


la la la la 


la la la la 


la la la la 


I TENOR. 


d .d Id Id 


t, .t It, It, 


t, .t It, It, 


d .d :d :d 


I BASE. 


d, .d Id, Id, 


s, ,s. Is, Is, 


S, .8, IS, IS, 


d.d,:d, :d, -"T 


x PI i .d it 


.d 


1, I- .1 Is 


.f 


PI I -.re, m If ,t. 


d I I- ,m 


m,f.m,f: rn.se :t .PI , 


I sip with hon-ied 


lip. The fleeting 


bub - ble's laughing 


gleam. And 


ad day long their * 


lone, two hands as 
J S| .8, IS, IS 


one. \V< nt xvand'ring 


by the list'ning 
S, .8, IS, IS, 


stream. An 
8, ,S, IS, I 




murm'ring How and j 
t, ,t| It, It) y 


ft In la la la 

d .d Id Id 


f f *f *f 

I, .1, .1, .1, 

la la la la 

d .d Id Id 




la In la l7T~ 

d .d Id Ir 


- 


P1|.P1|IP1, I 

la la h. 

d .d Id I 




se.se, Ise, Ise, / 

La la la la V 
PI .PI I PI I PI J 


d| ,d| Id, Id 


f, ,f, :f, :f, 




8, .8, IS, IS, 




d, .d, Id, I 




m,.m, IPI, IPI, 












m,f.m,f:m .d II 


.d 


r,pi.r,m:r .s Ife 


.1 


s I- ,s. Id .r 


m I- ,d It, .d 




r :- .8, Ir .m 


sweet wild song, 


The 


i.irds wi vt- chaining in 


n y 


dream. In iiuht and 


shade the soft winds 


played, Where clo-ver i 


whis-pers low, 


Were 


strangi-ly mingled in my 


'ream. And basking 


there in perfumed 


air, And in the 






ff 




'TS 




PP 






d .d Id Id 


t, ,t| It| Id 




t, I I 




8, .S, IS, IS, 




8, .8, IS, IS, 


1, .1, 11, I 


I 


s, .s. Is, II 




s, I I 




P1|.P1,IP1, IPl, 




f| f| !f| !f| 


la la la 1 


X 


la la In la 




111. 




La 1 1 la la 




la la la la 


' PI . PI I PI IPl 


r .r Ir Ir 




r I I 




d .d Id Id 




t| .t, >t, ! 


1, .1, :l, :l 




r .r Ir Ir t 


s, I I 




d, ,d. Id, id 




S .8, IS, IS, 


f I- .1 Is 


.f 


m I- ,s. Id 


,r 


PI I- .d It, .d 


1, I- .1 Is .f 




n I-.re,nIf ,t t , 


blooms a - long the 


stream; Bent low 


to 


sip with hon-ied 


lip. The fleet-i:ig 


bub ble's laughing 1 


suu - shine's golden 


beam, Two heart 


s a 


In IP, two hands as 


o ie, Went wan I ring 


by the list'.. ing a 


S, ,S| IS, IS 


1 


S, .8, IS, IS, 




8, ,S, IS, IS, 




1, .1, II, II, 




S, .S| Is, Is, 


r, .r, Irj Ir 


1 


P1|.P1|IP1, IPl, 




PI, . PI, IPl, IPI, 




f f *f 'f 

I, .1, .1, . I 




. f \ 
P)| .PI, .n, . r .1 


la la la la 


la la la la 




la la la la 




la la la la 




la la la la t 


t| ,t| .t| It 




d .d Id Id 




d .d Id Id 




d .d Id Id 




d .d Id Ir j 


S, .S| IS, IS| 


d, .d, id, Id 




d,.d, Id, Id, 




f f .f .f 

i, ,i, .1, .1, 




S, ,S| IS, IS, * 



MISCELLANEOUS. 15<J 




Dim. 


a :- . . 




s 1 




d i- . : 


fl, * fi m 


gleam. 


The birds were 


gai - ly cliai ting in my 


dream. 


o| tU I'l 

La la la \ 


stream. 


n n'n - S ' 


l 


*,:*, :. ' 


s, *:., : 


Dim. 

8 ,S| :S| .'S ' 
\ 


la la Li la 


la la la la 


la 


la la la 


la la la la 


Pl| ,P1|. Pl| ,P1| f 
la la la la V 


d .d :d :t. 


d .d :d :d 


r 


.r :r :t| 


d .d :d :t, 


d ,d:d :d | 


P Hit. 


T\ pp 


s Is 1's Si *r PI d * s *r PI 


d ! !si d ! I - 


la la la la la la la la la la 


v*i ^1 ** * * * 

la la la 


S| ,S| >S| !S| S| ,S| IS| ISj 


S | S | S | ~ , 


f f *f f 

I| ,I| .1| . 1 P|| ,P1| .PI . I 


pii i if HI ; '. . : 


li la la la la la la la 


la la la 


r .r :r :t| d .d :d :t. 


d :- :t d :- :- .- :- 


S| .S| lS| lS| 1 d| ,d| id| *BI 


d| '. lS| d| '. '. . l 


KEY A [?. 


SUPPORT. E. CORKHILL. 


mf 


p Dim. 


d :- d :d 


d : d : 


d 


:d 


d :d 


r : : 


PI I PI In 


si :- |li :l 


s, :- |d :- 


d 


:li 


s, :fe. 


s, :- : 


S| '. t| It| 


. Hero, Lord, by 


faith, I 


see 


Thee face to 


face, 


Here would I 


2.1 have no 


help but 


Thine, nor do I 


need 


An - oth - er 


3.1 have no 


wis - dom 


save in Him, who 


is 


My wis - dom 


PI :- f :f 


m : n : 


S 


:f 


PI :r 


v * 

I 


d : m :r 


d :- f, :f 


d :- d, :- 


PI, 


:fi 


s, :l. 


t, :- - :- 


d : |sei Jsei 


n : m : 


m :r |d :t| 


d 


; 


: 


PI ! PI In 


PI I JS| ! 


1. :- 1. :- 


1 :1| S| :s. 


S| 


t 
t 


: 


S| ; S| !S| 


S| : HI : 


touch and 


lian-dle things un - 


seen; 


Here grasp, with 


firm - er 


arm save 


Thine to lean up - 


on; 




It is e - 


uough, my 


and my 


teacb-er both in 


one 


; 


No wis - dom 


can I 


d : d :- 


f :t PI :r 


m 


; 


i 


d :- d :d 


d :- d :- 


l, :- |i, :- 


ftf ,_ 
.I|- S| ,S| 


d 


: 


: 


d :- d :d 


d :- d, :- 


1, :i, |ia, :ia, s, : :- s :- s 


la 


s, :ta,|l, :r m :- r :- d : :- 


fi :f| f| :f, HI : : d : d 


[ :d 


d :n, f :l| d : t, :- d : : 


UandthV-ter - ual grace, And all my 
Lord, enough, in - deed, My strength is 


wea - ri - ness up - on Thee lean, 
in Thy might, Thy might a - - lone. 


lack while Thou art wise, No t^ach - ing 


do I crave save Thine a - - lone. 


d :d d :d d : :- s : s 


IB 


s :d d :f s : |f :- m : :- 


f, :f| f :f| d| : :-r NI : n 


i, :pi| 


m, :d, |f, :r, s, : Is, : d : :- 



160 



MISCELLANEOUS. 
THE FAIRY'S ISLE. 



MARY LADD. 


THEO. F. SEWARD. 


pp KEY Bi?. ==C == 


=c: ^= 




Is, 


S, ^~ |~~~ !, S, 


8, I I 


I I IS|.s 


d I- I 


If. In 


r I I 


I 


l.In 


eve ... uing's 


smile 


This" 


lit tie 


isle, 




2. The 


moon - beams 


here, 


Fall 


soft and 


clear, 




3.O 


mor ... tal, 


come, 


TOOUJ 


fair - y 


home, 




In, 


n, I In, |f, I If, .fi 


n, I In, 


n, I In, 


n, I In, 


n, II, l8|.S| 


a *o 

8, tS| 


8, I- 


l.In 


eve - - ning's smile This 


lit tie 


isle, In 


eve - ning's smile This 


lit - tie 


isle. 


2.The 


moon - beams here, Fall 


soft and 


clear, The 


moon - beams here, Fall 


soft and 


clear, 


:t.O 


mor - tal, come, To our 


fair - y 


home, O 


mor - - tal, come, To our 


fair - y 


liome, 


Is, 


S, I IS, JS, I IS|.S, 


s, I Is, 


s, I Id 


d I Id 


d I Id .d 


t, I It, 


It, I- 


Id, 


d, I Id, |t, I It, ,t| 


d, I- Id, 


Id, I- Id, 


d, I- Id, 


d, I Id|.d, 


8, I IS, 


|s, I- 



F.t. j 
I r S 

G learns 
And 
We'll 

Gleams 
And 
We'll 

I*, n 


IP 

s I Is 

fair a - n 
stars blink 
guide you 

d I- Id 

fair a - 
stars blink 
guide you t 

n I In 
d I Id 


Ores. 

S* *o 
*3 

long the 
with de - 
through the 

r I Ir 

noiig the 
with de - 
hrough the 

f I- If 
t, I It, 


s Id' It 1 Is If 


n : In 

fair a - 
stars blink 
guide you 

d I "id 

fair a - 
stars blink 
guide you 

s I Is 

8, I IS, 


r Id Ir 


d i :- 

waves, 
light, 
lake, 

d I- I- 

waves, 
light, 
lake, 

n I I 
d I I 


waves, 
light, 
lake, 

d I I- 

waves, 
lijrht, 
lake, 

n 11 Is 


Gleams 
And 
We'll 

I Id 

Gleams 
And 
We'll 

f In 11 


mong the 
with de - 
through the 

t, Id It, 


mong the 
with de - 
hrough the 

f In If 


d I I- 


I If, 


8, I IS, 



f.C. 

: d s, 

That 
Aud 
O'er 






* *o 

And 
And 
And 


s, : :- 


es: 
Id Ir 


n I I I N 

way, 
sheen, J 
bells, 


s, I I 


i " 


r : : 

spray, 
green, 
shells, 


toss 
men 
pearl 


their 
in 

y 


bound 
gold 
lil 


a - 
en 

- y 


: d s. 


f\ I If| 


fi :- :f. 


fi :fi 


f, :- :f, 


n, I In, 


n, I If, 


S, I IS, S I V 


That 
And 
O'er 


toss their spray, And 
men in green, And 
pearl - y shells. And 


bound a - way, That 
gold en sheen, And 
lil - -y bells, O'er 


toss their 
men in 
. earl y 


spray, And 
green, And 
shells, Aud 


bound s - way, / 
gold - en sheen, 
HI - - y bells, \ 


Ids, 


t, I- It, 


t, Ir Id 


t, I It, |t, I It, 
S, I I8| |S| I IS, 


d I I- 

d, I- I- 


d I- Id 

Id, I- Id, 


d :- id |d ;- 1 
d I Id, |d| I > 


s, I Is, 


In 

To 

Dance 
That 


n If in 


r In Ir 


d Ir Id 


1, If Ir 


d I I |t, 11, It, 


d i : i 
n, : : i 

caves, 
night, 
brake, 


s, 11, Is, |f, is, If, 


n, I In, |f, II, ll. 


s, i : | : if, 

el - fin 
sil - ver 
neath the 


hid - den 
in the 
lie be - 


el - - fin 
sil - - ver 
iieath the 


caves, To hid - - den 
night, Dance in the 
brake, That lie be - 


f :d 


d I Id 
d I Id 


|t, I It, 

|s, I Is, 


d I Id |d I Id 


ni : 


r Id Ir 


d : : ; 

d, :- : h- :- 


s, : : | : is. 



From "The Singer," by per. of Biglow it. Main. 



MISCELLANEOUS. 



161 





pp 




/:d 


t| : :t| 


|t| : :ti 


d : : 


- : :d 


d : :d 


|d :- :d 


d* 



I *0 

H 


S| ! !S| 


|S| ' ?S| 


S| P1| |P1| '. lf| 


HI : :fi 


m ' ' f 


HI 




hid - den 


el - fin 


caves, to caves, To 


hid - den 


el - fin 


caves. 


'Dance 
,That 


in the 
lie be - 


sil - ver 

neath - the 


night, the night, Dance 
brake, the brake, That 


in the sil - ver 
lie be - neath the 


night, 
brake. 


IPl 


r : :r 


r :m :f 


PI 1 !S| 


s, : :l| 


s, : :i. 


S| : :1| 


s, : : 


:d| 


S| il| IS| 


f, :n, :r, 


3 t 


- :- :d, 


d,:-:d, | 


^ :- :d| 


d, : : 



THROUGH THE DAY. 



KEY E 12. 

n: :f 


m :r :d 


s : :l 


s :f :n 


m : :r 


d : :d 


r :d :r 


B. C. UNSEI 

PI : : 


d : :d 


d : :d 


d : :d 


d :- :d 


d : :t, 


d : :l. 


ti :l| !t| 


d : : 


1. Through the 
IPil - grims 

s : :l 


day Thy 
here, on 

s :f :m 


love hath 
earth, and 

PI : :f 


spared us ; 
strang - ers, 

m :1 :s 


Now we 
Dwell - ing 

s : :f 


lay us 

in the 

PI : :fe 


down to 
midst of 

s : :s 


rest, 
foes, 

s : : 


d : :d 

m : :f 


d : :d 
m :r :d 


d : :d 
s : :l 


d : :d 
s :f :m 


d : :s, 
n : in 


1, :- :l, 
PI :l :s 


s, : :s, 
fe :PI :fe 


d : : 
s : : 


d : :d 

Through the 

Us and 

s :ta :l 


d : :d 

si - lent 
ours pre - 

s :f :m 


d : :d 

watch - es 
serve from 

m : :f 


d :- :d 

guard us, 
dan - gers, 

PI :1 :s 


d : :r 

Let no 
In Thy 

s : :se 


d :- :d 

foe our 
love may 

1 Jm !ma 


d : :d 

peace mo - 
we re - 

r :s :l 


t| * * 

lest, 
pose. 

s : : 


d : :d 
s : :l 


d : :d 
s :f :n 


d :- :d 
n : :r 


d : :d 

d :- : 


d : :t, 
d : :d 


1, : :d 
d :l :s 


r : :r 
s :r :PI 


s, : : 
d : : 


d : :d 


d : :d 


t, :- :t, 


d : :- 


d : :ta. 


1, :d :d 


t| : :t| 


d : :- 


Je - BUS,. 
And v hen 

m : :f 


Thou our 
time's short 

PI :l :s 


guard - iau 
day is 

s :- :f 


be; 
past, 

PI : :- 


Sweet it 
Kest with 

PI ', JPl 


is to 
Thee in 

f :- :PI 


rest in 
heaven at 

r 'f *Q 
1 .1 o 


Tiee. 
last. 

n : r 


d : :d 
s : :l 


d : :d 
s :d' : 


s, : :s, 
d 1 : :l 


1. :- :- 

s :m : 


1, : :s, 
n : :m 


f, :- :s, 
s :f :r 


S| : :si 
d : :t, 


d :- :- 
d :^ :- 


d : :d 


d :n : 


f : :f 


PI :d : 


d : :ta 


1. :- :l. 


s, : :s, 


s, : :- 


O, 'tis 

I n : :f 


sweet, 

m :s :ta 


O, 'tis 

1 :- :d' 


sweet, 

d 1 :s :m 


O, 'tis 

m : :n 


sweet to 

r : :f 


rest in 

m : :r 


Thee. 

n : : 


d : :d 


d : : 


f : :f 


d : : 


1, :- :s, 


f. :- :f. 


si : :si 


d :- :- 



162 



MISCELLANEOUS. 
O LOYE DIVINE. 



o. w. 

p KEY] 
IS, 

IS, 


:n 

Id 

- 
d 


HOLMES. 

d I- ,s. Id .r r In Is f In Ir 


MENDELSSOHN, arr. by T. F. 8. 
m 

s I In d It, Id 


S| I IS| .tj t. Id Id 


d I Id 

stooped to 
1 IS If 


d I Is, 

share Out 

n I In 
d I- Id 

^^= 
d I- .8) Id .r 


sharp - - eat 

n Ir :n 


Love Di - vine, that 

n I In .f f Is Ita 


d I- Id d I- Id 
ir~ In f I- .n Ir .d 


d I- Id 

cP It, Is, 


_ 
. 

r In Is 


1, I- Id 

pang, our 
I S 

.n, 
f In Ir 


r i-.d 11, 


s, I- Is, 

tear, On 

n Ir If 


s, I Is, ,t. 


t. Id Id 


bit - - t'rest 

1 I- .s If .n 


Thee we 

n I In S 


oust each 

f Is Ita 


r, I- ,n. If, fe. 


s, I- I 
d It, Id 


d Id Id 

On Thee 

d Ir ~7h 


d : Id 


m 
s I In 
d I- I 

care, We 

n I I 

d I I 

i 

s I- .n Ir .n 


f I- j Id ,t| 


I d 

earth 


Id 

- born 

!s If 


fe Ife, Ife, 

smile at 

r Ir Ir 

r, Ir, Ir, 

Vc smile at 

7 I- .n Ir .d 


s, It, Ita, 


1, I- Is, 

Thou art 

f I In .r 


pain while 

r Is Is 


d I- Id 
d I Is, 

i s, :- is, 

near, Though 

1 n I- I 

d i- : 

s I- .n Ir .n 


s, I Id 

pain 

t Id 11, 


f I- Is, 
fe, Is, Is, 


n I- .d It, .d 


d I- Is, 

wea - - ry 

1 I- .s if .n 


8, I- 11, 
way we 

r In Id 


fe. Is, Is, 


long the 
I .8 IS .S 

. 
Tho' long the 

s" .f I- ,n Ir .d 


tread, And 

d ;t r i 


t Id ~~ln 


n Ir : 


5 , t, id 

_ 

(Inst.) 
If In 
s, I- I- 


n 


I- .d It, .d 


d I- Is, 

crown each 

1 I- .s If .n 


s, I- Id 

ling - - 'ring 

r In In .fe 


d It, : 


sor row 
I .8 IS .S 


year, 

s ; : 





I I 


I I 



And sor-row 



MISCELLANEOUS. 


/ 






n r S 


s I Is 


St i-i 
D 


d 1 I Id 1 


s : in d ;t| id 


d It, It) 


d I- ,S| Id jc 


r In Is 


f In Ir 


d I- I fe, Ife, Ife, 


No 


path we 


shuu, no 


dark - ness 


dread, O Love Di 


R * *f 

B 1 


PI I IPl.f 


f Is Ita 


1 IS If 


n I I r Ir Ir 


I I 


d Id Id 


d I Id 


d I- Id 


d* ,.,. 
M *, *( 


No path 




O Love 


-=n ^ ~rr==- 




mt. rr 


, d Ir In 


f I- r Id .t, 


d I-. I 


I .PI In.n 


r I 


In 


f I-J-Id.t, 


d I- 


I BI It) Ita, 


1| I IS| 


s, I- . I 


I .dld.d 


t, I 


Id 


di . 
- .1| 8| 


8, I- 


(vine, while 


Thou art 


near, while Thou art m 


ar, while Thou art 


near, 


While 


Thou art 


near. 


r Is Is 


f I- Im.r 


PI I .S IS .S S 


I I 


I 


Ita 


1 I-^In.r 


n I- 


s, I Id 


X* 

I, . IS| 


d :-. : 


I I 


I 


Id 


f, I Is, 


d I- 



163 



FOREST SONG. EVENING. 



MABY A. LATHBUBY. 


T. F. SEWABD 


KEYBt?. - 


- : -. 


^^c= 


- 


__ 1 1 




n, ,f, Ife, .s 




1, .s. Is, 




S| .1] 


It, .d 


d .t, It, 


t 


s 'n, .t, 


d, x\ Ire, ,p 


i 


re, ,pi| In, 




f| .f| If, ,S| 


f. J 


F if. 


fl 


:fi * 


l.Soft thro' the 


fad - ing light, 


Falls the 


swi - light's 


pur-pie veil ! 


Far o'er the 


2. Arms of the 


for - est trees, 


Rock the 


rest - less 


winds to sleep; 


Si 


lent the 


3. Fold, then, your 


wea - ry wings, 


Troubled heart and 


bus - 


y brain, 


"Rest, rest," the 


d ,t| Il| .s. 


fe, .s. Is, 




t, ,d Ir .n 


r j Ir 


r 


Ir .r 


d, id, .d 




d, .d, Id, 


- 


~=^cr 




S| . 


" :s ' 


BI 




1 li .si :BI 




r, j*, Ir, 




S| 


/^"\ ^S 


n, .i 


*, Ire, .HI 


1," 

re 




.S| IS, 

i .n. In, 


r, .HI Ii| .r. 


d, .i 


\ wa - ters bright 




Flits a sun 


- lit 


sail. 




Hush ! 


while the 


day -light dies; 


j birds and bees, 




Sink in slum 


- ber 


deep. 




'Rest,' 


sings the 


for - est, "rest," 


j for - est sings, 




Rest from care 


and 


pain. 




'Rest,' 


sings the 


woodland still, 


/ d .d id 




d .t, Ir 


.d 


t, .d 


Ir .t. 


d .t II, .s. 


fe 


.s. Is, 


\ d, ,d. Id, 




r, .r, Ir, 


j. 


S| 


:- .s 2 


di 


Id, ,d. 


d, 


.d, Id, 








Vi/ Si/ 






-^2. 


2^rr=- 






Bit. 3^rr==- 


PP ^ 


8| ,1| It, .d 


d .t. It, 


t, .f II, .t, 


1, ,S| In 


n jf Ir ,n 


d I 


fi .fi if, .s 


f, .f, :f. 


f, :f, .f. 


n, .n. Is, 


s, .1, If, .s. 


PI, .fi In, 


Ev'ning sounds thro' 
List - en to her 


all the air, 
lul - la - by, 


Soft on the 
"Rest" on the 


si-lence rise, 
Father's breast, 


Like an an - gel's 
'Neath His watchful 


prayer, 
eye. 


While the si - lent 


shadows fall, 


"Rest, rest from 


ev - ery ill, 


God' is o - ver 


all. 


t, .d Ir ,n 


r ,r Ir 


r *r r 

r ti mi 


d .d Id 


d .d Iti .t, 


d .1| Is, 


8, ,S| IS, ,S| 


S, ,S| IS, 


S, IS| ,S| 


di ,d. Id, 


S| .8, IS, .8, 


d, I- 






Copyright, 1881, by Biglow Si Main. 


Vi/ 



164 



MISCELLANEOUS. 



EMMA S. STXLLWELL. 



AUTUMN SONG. 



KEY A]?. 


T. F. SEWABD, by per. 


ls\ S| t- .d In .d d ,,t| It| 


:d r 


:- ,S| :1| .s. 


8| :d 


:si 


s, :- 


.d :m .d \ 


Ml Pl| I- .Pl| IS| ,P1| f| ,,f| lf| 


inii f| 


:- .f :f, .f 


ni : 


:m. 


m, :- 


.PI, :si .pi| 1 


l.O wav - ing, moaning autumn trees, Say when 


) - fore do ye 


sigh? 


Ye 


weave yourselves RQoh/ 


2.O faint, faint life, O doubting soul! These leaf 


- lets that I 


tread 


Send 


forth sweet incense ) 


3.O wav - ing, ma ning autumn trees 


, "Pis meet 


that ye should 


sigh, 


While 


lov - Her things than( 


:d d :- .d :d .d r M r :r 


:d t, 


' .t *t| ,t| 


d :- 


:d 


d :- 


.d :d .d ) 


Jd| d| - ,d id .d| S|.,S|lS| 


IS| S| 


:- ,s, :s, .s, 


d, :- 


:d, 


d, :- 


.d, :d, .d, / 


d ,,t| Iti it| 


t, :- ,t, :d 


.fe, 


s, :- 


:s. 


t 


m, 

^ T 


:f .1 


8 ,,fe:s 


:PI 


S| ,,S| ',S\ lS\ 


S| !- ,S| Ife 


Jfi 


ri :- 


:s. 


S| ,S 


!S| .t 


d.,d :d 


:si 


royal robes, It 


must be sweet to 


die; 


Clad 


in more lavish 


beaut j' now 


Than 


( as they i'ade, Per - 


fume their low - ly 


bed, 


And 


teach sweet truth, if 


we will read What 


) autumn leaves Do 


fade and droop and 


die; 


Yet 


change your dirge-notes 


to n psalm, They 


m.,r Jr :r 


r* i* * Y* 
T 1 


.d 


t, :- 


:s. 


S 


:- .t 


:r s 


PI .,re:m 


:d 


8,.,8,:8, :s, 


r, :- .r, :r, 


.r, 


s, :- 


:s. 


8| ' .S| !S| ,S| 


d M d :d 


:d 


f m *f *r 

1 ' ' 1 ! 


PI I '.S\ 




t, :- 


.r :f .1 


s 


..fels 


:m 


r :- .t, :l, .t, 


s,.,si is, :si 


S| 1 !S| 




s, :- 


.t, :r .f 


n., re! PI !S| 


S| I 


,s, :fe, .fe. 


drapes the west em 


sky, Clad 


in 


more lavish 


beauty now 


Than 


drapes the western 


every leaf has 


said, And 


tench 


sweet truth, if 


we will rend 


What 


ev - ery leaf has 


bloom again on 


high; Yet 




change your dirge-notes 


to a psalm,- 


-They 


bloom 


a - gain on 


r .,de:r :t| 


d :- :s, 




s, :- 


,S| :&i .t| 


d.,d :d 


:d 


t, :- 


J :d .r \ 


S| ,,S| *S| tS| 


d : :si 




s, :- 


,S| >S| ,S| 


d.,d id itl 


r, :- j, :r, j, / 




S| :- ,d :m 


.d 


d ,,t, :t 


i :d 


r I- 8| 


:l, .s, 


s, :d 


:s, 


o 


wav - ing, moaning 


autumn trees, Say 


where - fore do ye 


nigh? 


Ye 


s, :- : 


PI, :- :- 




f, :- 


:PI ( 


f :- :- 


pj| : 


i 


< fik .y- 






















Hm 


















high. 




















t, :- : 


d : : 




r :- 


:d 


t 


i 


; 


d : 


; 


s, : : 


d, :- :- 




s, :- 


~" 


s, :- :- 


d, :- 


! 


s, :- .d :m .s s ,,f :f .f :PI j 


d :- : 


- - .n :l 


.s : PI .d 


d .t, :l :t, | 


d :- 


weave yourselves such royal robes, It must be 


sweet 




It must be 


sweet to 


die. 


! !S| .tai 1 1- . '. 


: .1, : 


li .1, s, . : 


,S| . S| ,S| 


f. :- :f. 


HI : 




It m 


ust be sweet, 


It must be 


sweet to 


die. 


; j I- , ; 


: .d : 


r .re PI. : 


. PI I PI ,P1 




d : 


. _ f 
. i t . 


: .fe: 


fe,.fe, SL : 


.S| :8| .Si 


S| : :si 


d, :- 



TENNYSON. 
pp KEY C. Larghetto. M. 100. 



MISCELLANEOUS. 
SWEET AND LOW. 



165 



J. BAENBY. 



n : JPI |l : 
PI I I PI re ' 

.Sweet and low, 
2. Sleep and rest, 

S* fo 
o 1C 

d : :d |d :- 

1* a 
t . O 9 


: s : :s | 

: n : :PI 

Sweet and ] 
Sleep and i 

: s : :s | 
:- d :- :d 

: n :- : . 
:- m :- :- 

Low, '. 
Kest, ] 

: s : :- 

* d 

r : : |d : : 


di : _ : _ d 1 :t 
f : : PI :n 

ow, Wind of 
est, Fa - ther 

1 :- :- s :r' 
d :- :- d :d 


:l s :- .s :fe 


PI r ~ JT r 


the west - - ern 
will come to thee 

:d' |t :- .t :l 


:d r :- .r :r 


Gt = /TN 


i g 


: m li r : : 

aud blow, 
- er's breast, 

r 1 " 1 ! s :- :- 
:df, |f :- :- 

S* i\\ 11 a *-^ *^ 
u. o 


*. 

1 

sea, 
soon; 

d 1 :- :- t :- 


re : :re PI : 


ow, breathe 
est on moth 

fe : :fe s : 


s :- : : 

p 
s :n :f r :-.r:m 


d _:- :d d :- 

f.C. mf 

d s :t :1 s :1 :s 


1 d :d :d d :-.d:t. 


t| : _ : _ |d :- : 


O - ver the roll - ing 
ta,f J j f j jf 

O ver the 
Fa ther will 

8 r' :t :d' r 1 :d' Ir 1 


wa - - ters go, 

m :m :re m : : 


' Wind the west - - era 
( Fa-ther will co.iie to thee 

/ Q *f 11 *- 1 *<? 

IS O 1 | 1 d 8 


seii. 
soon. 

f : : n : : 


wa - - ters go, 
come to his babe, 

d 1 id 1 :d' |d' : :- 


1 

m :d :l, f, :-.f, :s, 


d : : : : 

s :d' :fe s : : 


Fa ther will come to his 

m t :s :l |t :l :t 

f 

d 1 :d' :d' d 1 : :t 

d .*m :1 se : Ise 

Blow him a - gaiu to 
Uu-der the sil - - ver 

1 :d' :PI' n 1 : :r' 
li il| ;-d PI J i PI 
ji 


babe in the nest, 

d 1 :m :fe s : :- 
1 : : la : :- 


pp 
s :t :1 s :1 :s 


i (Joiue from the dy - - ing 

\ f : :f |f : :f 


moon and blow, 

m : :re n : : 

moon and blow, 
of the west, 

d 1 :s :l s : :- 


1 r\ ' * 
1 . 1 U. 


Come from the 
\ Sil - ver sails out 

/ 1 :s :l |t :l :t 


me, 
moon, 

d 1 : : ma 1 : : 


\ Sil - - ver sails all 


out of the west, 

d :- :d |d : :- 

im. 
o ' 'o a 1 

O b O 1 to 

dm "I IT f* m X* 
: :d |d :-.f :f 

while my pret - ty one 
sleep, my pret - ty one, 

d 1 : :d' |t :-.t :ta 


f : :- fe : :- 


P rail, e c 




.S S ..1 tS 

( d : :n r :-.r:r , 

, While my lit - tie one, 
] Sleep, my lit - tie one, 

( n 1 : :d' t :-.t :t 

\ j* j* . j* 

O * *O T * T *T 

o o 1 .1 .1 


m : : f : :- 


PI 


sleeps 




sleep 






s : : : : 


d* 





PI '. Jpia r J-,r tra 


. , . 






.66 MISCELLANEOUS. 

GRANDEUR. 

KEY E/. With the utmost dignity and firmness. 

Is d 1 I Is n I In^s s II Is 


s if :l 




Arr. from WAONEB 

r 1 i- Id' 
fe I- Ife 

tend His 
let our 

1 ' *1 

i l 

r : Ir 

1 i is 
f I- In 

in the 
va - - tion 

1 If IS 


In n I Id d I Id d I 

.Now may the God of grace 
2. Then save us, Lord, from slav 

Is s I In n I Is s If 


Id 

and 
- ish 

Is 

In, 

Is 
Ir 

De - 
Till 

It 

Is 

11 


de Ir if 


power, At 
fear, And 

1 I- 11 

r, I Ir 
L Is 11 


j j i. ~ f 
Id a . n| 1 . .s^ii 


4 n, m 


1 *fl 


t I Is t l t t d 1 II Is M n 


n 


Ir 


s Ir it u d 4 r d I Id 


d 


It, 


r I In 

'end them 
["by sal - 

I It Id' 


l>eo - pie's hum ble 
trust be firm and 

s I Is s In Is 


cry. 
strong, 

S I 

S, I 

,l 4 t d 1 It 


f I If n Id In) 


f I- In 
s if in 


r 
d 


r I 
i Ir 


In 

d I 
d :- 

ligh. 

song. 

n I- 
d I- 

so, by per. 

;=;;, ) 

ar, On I 
>ar, No ) 
ar, The . 

I It, 1 

: is, / 

d I 

ni I 

near, 
near, 
near. 

d I 
d, I- II 


1 Is II 1 I- 11 s I Is 


f I In re I Ire n If If 


n I 


If .d 


-.nlr Id 


need - ful hour, And send de - 
shall ap - pear, And hymns of 

t I- 11 fe I- Ife s It It^r 1 


liv 
peace 

d' I- 


- I- S 


'ranee 
con 

8 il 11 


from on 
elude our 

S* f 
. 1 

S| i IS, 
T. F. SEWAI 

r i ir r 

s, Ife, Il| s 


r I- Id t, I- It d Ir U 


h 


1, Is, If, 


n, If, Ife, 


KEY B [?. 

1st S| :fe, is, 1 IS) IS| s. Id Ir 


TRUS 

n i In 

8 I IS| 

share Our 
tread, And 
grief, And 

d I Id 
i I- Id 

aire, We 
Iread, Our 
eaf Shall 

1 I- id 
1, :- ;d 


T. 

n Ire I 


n f in in 


Ini pi| Ir6| Ini f Ini IPI m ;s Is 


8, Ife, Is, 1, Is, Is, 


l.O Love Di - vine! that stooped to 
2.Tho' long the wea - ry way we 
S.When droop - ing pleas - ure turns to 

Id d I Id d I Id d I It 

*A A J J J J 

u.i a, . .a u t tfli d| .nj .S| 
r In Ir d Is, id r In Ir 


sharp - t'st pang, our 
sor - row crown each 
trem - bling faith is 

d I Id d I Id 
d| I Id d| I Id, 

n If in r II, II 


bit - t'nst tc 
ling - 'ring y 
changed to ie 

t II Id t 


r, 

s 

\ 


i Ir, s 
i il, it, 


fi isi if, ni i ipi| f| isi :f| 


8, II, IS, f, I If 


f 

'hon ait 
^hou art 
?hou art 

; id ;r 


Thee we cast each earth - born < 
^ path we shun, no dark - ness < 
j niurm - 'ring wind, the quiv 'ring 

f t, I- it, d I id t, I- It, ( 
\ fi) I lS| d : ;d| S| ; is, < 


smil at pain, while 
hearts still whisp - 'ring, r . 
soft - ly tell us 1 

ds I :de r I Ir 1 


1, I 


1 V ' - *t 

fi TI t ' fl 





i, : PI 



MART A. LATHBTJRY. 
KEY P. 



s : : 
d : : 

I. Float - - 

Float - - 

Float - - 

IXC. Float - 



n 
|d 

ing, 
iug, 
ing, 
ing, 



m : : |s : 
d : : |d :- 



s I 
d :- 

Rock 
Rock 
Rock 
Rock 

PI I 

d :- 

d : 
1, :- 

Soft 
Day 
Drift 

f :- 



|m 

Id 

ing, 
ing, 

ing. 
ing, 

Is 
Id 



Id 
iy 

is 
ing, 

If 



d : : |1 

:- :- |d 



Bells 

All 

Drift 



are 

hearts 

ing, 

If 
1 1 t 



MISCELLANEOUS. 




16 


BOAT SONG. 






THEO. F. SEWAHD. 


S ~ 
r 


s :l :s 


|f IPI :r 


d : :m 


8* 



t* 4. 
| b\ 


PI :f :m 


r :d :t. 


d : :d 


|d :- : 


float - - ing, 


Gui - - ly 


sing - iug 


as we 


row, 


float - - ing, 
float - - ing, 


Through the 
See the 


shad - ows 
moon a - 


soft and 
bove the 


deep, 
lake, 


float - - ing, 


Gai - ly 


sing - ing 


as we 


row. 


s : : s : : 


s : :s 


a : :f 


m : :s 


PI : : 


s, : : |s, : : 


S| : is. 


|s, : :si 


d : :d 


d :-:- 






FINE. 


o r 

B t 1 


q ! *q 
D 1 to 


f :m :r 


d : : 






tt 4. 
| l| 


m :f :m 


r :d :t| 


d : : 



~ 


rock - - ing, 


In the 


sun - set 


glow. 




rock - - ing, 


With the 


waves to 


sleep. 




rock - - ing, 


In her 


sil - - ver 


wake. 




rock - - ing, 


In the 


sun - - set 


3/010. 




s : : s : : 


s : :s 


s : :f 


m : : 





s, : : |s, : : 


si : :si 


s, : :s. 


d : : 


~ 


s : : n : : 


s : :r 


r :m :f 


m : :r 


d :- : 


d : : |d :- : 


t, :- :t, 


t, :d :r 


d : :t, |d : : 


steal - ing 


O'er the 


wa - ters 


far a - way; 


end - ing, 


Star - ry 


eyes a - 


bove us beam; 


drift - ing, 


From the 


shad - ow - 


haunt - ed land ; 


m : : s : : 


s : :s 


s : :s 


s : :f 


n : : 


d : : |d : : 


s, : :s. 


|s, : is. 


d : :d 


|d :-: 


C.t. 






ni 

S II 


r s : :s 


s :l :t 


d 1 : :d" 


r 1 In 1 Ir 1 v 


d : : |d : : 


fc .m : :PI 


f : :f 


n : :m 


f :- :f 1 


peal - - ing 


For the dy - ing 


day, the 


dy - -ing ( 


blend - - ing 


In a hap - - py 


dream, a 


hap - py > 


drift - - ing 


In - - to fair - - y 


land, to 


fair - y ( 


n : : s : : 


'd 1 : Id' 


r 1 : :r' 


d 1 : :d' 


t : :t ) 


d : : d : : 


r s : :s 


q ' *q 
8 c *i9 


d : :d 


s : :s ' 



f.F. 



D. C. 



d 1 : 


:d' I 


r 1 :n' 


:r' 


d 's : 


n :- 


:PI |f :- 


:f 


n ti : 


day, 


the dy - - 


ing 


day, 


dream, 


a hap - 


py 


dream, 


land, 


to 


fair - 


y 


land, 


d 1 : 


:d' |t :- 


:t 


d 's : 


d :- 


:d 


s : 


:s 


*B,:- 



d. . 










~ 


' 


. . 

the 
a 
to 


dy 
hap - 
fair 


ing 

py 
y 




u| 

day. 
dream, 
land. 




In :- :- 

1 o 


f 
i 


PI 






r : :- 


~ * 


I s ! --- 


b| . 


*>i 


~~ t ~ 


S| . t 





Copyright, 1881, by Biglow & Main. 



168 



MISCELLANEOUS. 
EVENING HYMN. 



mp KEY D. p 


[EL BATCHELLOB. 


, s :- .f m .f :s .1 


a If 

5 |I 


f 1- .n 


r .PI :f .s 


PI : 


V 


PI :- .r d .r lm.f 


n : r i 


r 1- .d |t| .d Ir ,t\ 


d : 


5 


) l.Day - light from the sky has 
/ 2.Flow'rs a - mid the calm of 


fad - ed, 
e - ven, 


Shad - ows fall on bind and 
Lift their heads refreshed with 


sea; 
dew; 


[ 


3. Babes their trusting eyelids 


clos - lag, 


Slum - ber on their mother's 


breast; 


I 


/d' : 


- .d 1 s ,s :d' .d 1 


1 : |1 : 


s :- .s 


s .s is .s 


s : 




d : 


.d d .d :d .d 


de :- r :- 


8| 1 .8) |8|.S| .S, ,S| 


d : 


: 




-mf 




, s : 


- .f n .f 5s a 


s : 1 : 


t :- .d 1 


t J 58 .fe 


s : 


1 


* : 


.r d .d :m.f 


PI : PI : 


r :- jr 


r ,r :r ,d 


t, :- 


i : 


Ere 


in sleep our eyes are 


sha - - ded, 


Lord, we raise our hearts to 


Thee! 




. Won - 


ry hi-nrts look up to 


heav - en, 


There to find our strength a- 


new. 




Lit - 


tie birils in pence re- 


pos - iug, 


Un - der parent wings find 


rest. 




Id' 


- .d 1 s .s :d' .d 1 


d 1 : |d' :- 


s :- .1 


s .d 1 :t J 


s : 


l 5 


1 d : 


- .d d .d :d .d 


d :- 11, :- 


r :- .r 


r .r :r j 


s, : 


1 5 


mp 


G-es 


/TS 


f :- .m r .m :f ,s 


f : n : 


r :- .de 


r .PI :f .fe 


S * 


5 


r : 


- .d t| .d :r ,t| 


r :- |d : 


1, :- 1, |1, .1, :r .d 


t, Id 


r .mSf 


Take 


not Thou Thy light a- 


way, 


Fair - er than the light of 


day ; 




Thus 


we thirst for Thee, O 


Lord ! 


Let Thy grace on us be 


poured; 




Whith 


- er shall Thy children 


flee, 


Heav'n - ly Father, but to 


Thee? 




s : 


.8 S .8 IS .8 


S 
. 


1 . .8 


f .1 :l .1 


s ll 


|t .d':r' 


si : 


- .S| JS| .8, IS, .8, 


s, :i, .ti d : 


f :- .m 


r .de :r ,r 


s . 


: 




Dim - e 


rit. 


s 


:- .f m .f :s J 


s :m' r 1 .d 1 It .1 


s 5- J |t .d 1 :r .PI 


s If 


m : 


( m 


- .r |d ,r :m.f 


n is |f :f 


PI :- .f 


f .m :r .d 


t. :- 


|d :- 


' Fa - 


ther, let thy presence 


cheer us, 


Dark-ness flies when thou art 


near 


us. 


^ Cleanse and pardon and re - 


store us, 


Shed the dew of blessing 


o'er 


us. 


Thou 


wilt watch while in thy 


keep ... iug ( 


Calm and peaceful we are 


sleep 


ing. 


( d ' ' 


- .d 1 s .s :d'.d' 


d 1 :- |1 Jr'.d' 


d' :- .d 1 


s .s :1 .s 


S 1- 


s ; 


1 d : 


- .d |d.d :d .d 


d :- f :f 


d :- .d 


r .m :f .PI 


r Is, 


d : 


KEYC. FABEN. 


J. H. WlLLCOX. 


q q 
.8 .8 


s :- .PI" :r' .PI" 


d 1 :s :s ,s f :- .1 is .f 


f :n :f .f s 


1- .n'lr 1 .m 1 


[5m.rc 


m :- .s :f .f 


PI :PI :d .d r :- .f in .r 


r id lt| .t| d 


;- ,s ;f S } 


U./jve di- 


vine, all love ex - 


eel - ling, Joy of heaven, to earth co.ue 


down, Fix in us 


Thy humble ' 


/2.Come Al- 


might - y to de - 


liv - er. Let us all Thy life re - 


ct-ive, Sudden ly 


i t in ii and / 


yS.Finisli 


then Thy new ere- 


a - tion, Pure and spot - less let me 


be, Let us see 


Thy great eal-( 


Id'.d 1 


d 1 :- .s :l .t 


d 1 :d' :d'.d' d 1 :- ,d':t .t 


d 1 is :s ,s s 


- a *1 t 1 

tO .1 t 


-id .d 


d :- .d :d .d 


d .d In ,n s '. - .$ Is .s 


d 5 :r j n 


:- .d .d .d ' 



MISCELLANEOUS. 


16 


j i . - Ji ji 
Cl fl. .0. 

i 


t :- .1 IB 


.fe si : 


3 .8 


1 :- J 


:t .t 


d' :d' :l a \ 


n JPI :m .PI 


r :- .r :r 


.d t : :r .r 


m :- .PI 


:f .f 


PI In :m .m ) 


i dwell - ing, All Thy 
^ nev - er, Nev - er 
j va - t on Per- feet- 


faith - ful mer-cifs crown: Je - sus, 
more Thy temples leave. Thee we 
ly se cured in Thee: Changed from 


Thou art all coin- 
would be al-ways 
glo - - ry in - to 


pas - sion, Pure, un-^ 
)less - ing, Serve Thee) 
glo - ry, Till in ( 


d' :d' :d" a 


s :- .d 1 :t 


.1 s : : 


t .t 


d 1 :- .d' 


:r' .r' 


d 1 :d' :d' .d ) 


' d :d :l, .1 


r :- ,r :r 


.r s, : : 


S .3 


s :- .s 


:s .s 


1 :l :l J ' 


, 1 :- .d':t .1 

I re :- .re: re .re 


1 


Sv S B S 


s :- .m'lr'.m 1 
i .f 

PI .- .3 .1 .PI 


d 1 Is '.se.se 
PI :d :r .r 


1 .r 1 .d 1 :t d 1 :- 
d .f :PI :r m : 


m : :f .f 


bound - ed love Thou 
( as Tliy hosts a - 
(heav'n we take oui 


art, Vis - it 
bove, Pray and 
lace, Till we 


us with Thy sal- 
praise Thee without 
cast our crowns be- 


va - tion, En-ter 
ceas -ing, Glo-ry 
fore Thee, Lost in 


every tremb-ling heart. 
in Thy per - feet love, 
wonder, love and praise. 


d 1 :- .1 :t .d 
f :- .f :f .f 


d 1 :t :t .t 


d 1 :- .d 1 :t .t 
d :- ,d :s .se 


1 : 
1 : 


s :t .t 
PI JPI .PI 


1 J :s is si 

f ,r Is ls\ d '. 


PI : :s ,s 


R P. M. & GRACE J. FRANCES. GOOD-NIGHT, MY 


DARLING. 


KEYD. 


(FOR MALE VOICES.) 


HUBERT P. MAIN. 


:s 


d 1 : :d' 


d 


: :n' 


r' :d 


1 


/T-v 




1 : _ 


- :d' 


d 1 : 


- :r' 


4- 

VI 


J 


NPl 


s : :s 


s 


: :d' 


t :d 


I 


: :PI 




f :- 


- :i 


s : 


Is 


s : : 


I 


\l.Good 
,'2.Good 
\3.Good 
V4.Good 


night, good 
night, good 
night, good 
night, good 


night, my 
night, my 
night, my 
uight, my 


dar-ling; 
dar liug; 
dar-ling; 
dar-ling; 


May 
May 
Sweet 
Till 


earth - ly 
smiles from 
dreams I 
morn a - 


cares now 
eyes a - 
ask for 
gain shall 


cease, 
bove, 
Thee; 
break, 




:a 


PI : :n 


PI : :s 


f IP 


i : 


- : :d 




d : :d.r 


PI :- :f 


T* * _^ * ^__ 


i 


\ 


d : :d 


d 


: :d 


s\ :d : 


- : :d 




f. :- 


-:fi 


s, : 


- :B, 


S| : 


: 


:s 


s : :d' 


m 


:- :r' 


r' :- 


_ j 


j :s 




d' : 


:d< 


d' : 


:l 


s :m : 





:f 


PI : is 


d 


: :d' 


t :- 


- : 


: :s 




s : 


:ta 


1 : 


:f 


n :d : 


: 


God 
Look 
O 
And 


give thee 
down on 
think and 
thou from 


rest and 
thee in 
dream of 
sleep a - 


peace, 
love, 
me. 
wake. 




Good 
Good 
Good 
Good 




night, good 
night, etc. 
night, etc. 
night, etc. 


night, my 


dear-est, 




:r 


d :m 


fe :fe 


s :- 


_ 


:f 




PI 


:s 


f 


:d 


d d 





:t, 


d - :d 


1 


-:r, 


s, :- 


- 


- :t, 




d 


:i 


f. 


:f. 


d d 





:s 


1 d 1 :- 


d 1 - :n' 


r' :- 





d 1 IB 




d 1 - 


; 





: 








:m 


f 1 :- 


s 


:d' 


t :- 


_ 


d 1 : 






:ta 


1 


:la 


; 





My 


pre ious 


lov , my 


dar 


- 


ling Good 


night, good 


night, good 


night. 




:d 


d :r 


n :s 


f :- 





PI : 






IB 


f 


:r 


PI 





:d 


f, - :f, 


si :&i 


s, :- 


Copyn 


d : 

ght, 1883, by Hubei 


t P. Main. 


f| 


: 


d, 






170 



MISCELLANEOUS. 



JESUS, I COME TO THE*,. 



KEY C. T. F. SEWABD, by per. 


, n in in 


s I- .f I PI 


f If If 


f : i 


t It It 


I d :d :d 


PI I- ,r Id 


r Ir Ir 


r : : 


r Ir Ir 


M.Je - sns, I 
2. F;ir from the 
!{.Back to Thy 


come to Thee, 
nar - row way 
dear love for 


no one be 
long have I 
shel - ter and 


side 
strayed, 
rest, 


Cares for the 
Dark clouds have 
Flee I, O 


s is Is 


S I- .8 IS 


s Is Is 


s :- : 


s Is Is 


d Id Id 


d I- .d Id 


s, Is, Is, 


s, :- : 


S, IS, IS, 


r' I- .d 1 It 


d 1 in 11 


s I- I 


PI IPI IPI 


s I- .f In 


f I- .n Ir 


PI Id If 


n I- I- 


d id id 


n I- ,r Id 


sor - row I'm 
cov - ered me 
Lord, like a 


try - ing to 
where I have 
bird to its 


hide; 
prayed; 
nest; 


Help - less and 
Now to Thy 
Noth - ing I 


des - o - late, 
mer - cy I 
bring Thee, but 


s I- .s Is 


s Id 1 Id 1 


d 1 I- I- 


s Is :s 


d' I- .d 1 Id' 


S| I- ,S| IS) 


d Id Id 


d I- I- 


d Id Id 


d I- .d Id 


, d 1 Id 1 Id' 
In In I PI 

) tired with my 
< come with my 
) sor - row and 


1 
i 

f I- I- 

sin, 
sin, 
sin, 


1 Ir 1 .d' It J 


s 11 .t Id' 


s .f In Ir 


f It .1 Is .f 


PI If IPI 

arms to me 
com - fort me, 
arms for me, 


n .r Id It, 


O - pi-n Thiue 
,Pit - y and 
O - pen Thine 


Lord, take me 
Lord, take me 
Lord, take me 


' d 1 Id 1 Id 1 
M :l :l 

d I I 
d I- I- 


d 1 I- I- 
f I- I- 

S .S IS .S IS .3 

PI .PI I m .m Ir .f 


d 1 11 It .d 1 


d 1 Is Is 
m Ir Id 

1 .1 II .1 Ir .d 1 


8 .1 IS If 


f If If 

s I- I 

PI I- I- 


n .f Is is, 
t t 

S """" ~^ 


f .f If .f Ife .fe 


in. 










in. 


Open now Thiue arms to 


me, 


Pity, Lord, and comfort 


me; 


iu. 
PI I- I- 

d I- I- 


d 1 .d Id 1 .d 1 It J 1 

d .d Id .d IS| ,S| 


d 1 I I 
d I- I- 


d 1 .d 1 ;l .1 :l .1 


s : : 
s ; : 


f .f If .f :r .r 


d 1 .d' Ir' .d 1 It 


.1 s 11 ,t Id 1 s .f In Ir d I I 


PI .n If .m is S PI If 

O - pen now Thiue onus for me, for 


In n .r id 


It, d : I 


me, Lord, take me in. 


S .S IS .S IS .S S Id 1 

d .d Id .d Id ,d d Id 


Id 1 d 1 .1 Is Is S n 




~~ """ 

. 
t 


Id m .f Is is. d 



MISCELLANEOUS. 



171 



STAND BY THE FLAG. 






KEY l>. Mae 


slcso e marcalo. 


HENBY TUCKEB. 


d 1 1*1 


fa 'a 
.-, a 8 


1 .t Id 1 .r' |d' It js 


d 1 It 


11 is 


d In 


fa a 
., S Jo 


f .f is .f n Ir .s 


n Ire 


n In 


I. Stand by 
2. Stand by 


the flag; its 
the flag; though 


folds have waved in glo - ry, To 
death shot round it rat - tie, And 


foes a 
un - der 


fear, to 
neath ite 


d :n 


.,f s :- .d 1 


d 1 ! ' 1 9 *Q f 
.0.0 . i a *a.u 


1 11 


|1 II 


d :m 


,,f s :- .PI 


f .r I PI ,f s IS| .S| 


1, :t, 


|d Ide 


f .n :r 


.dm :r . 


d In ,,f s I- .s 


1 .t Id' j' |d' It a- 1 


r ,d :d 


.d dT It; . 


d IPI .,f s I- .s 


f .f Is .f 


PI Ir J 


friends a guardian robe, 


And spread to na - - tions 


round the joyful 


sto - ry, Of 


waving folds 


aave met, 


In all the dread ar - 


ray of sanguine 


bat - tie, The 


1 J :l .1 s :- . 


d IPI ,,f s I- .s 


d 1 .s Is .1 


s Is J 


r .PI :f ,fe s :- . 


d IPI ,,f s I- ,s 


f .r IPI .f 


s Is .f 




A.t. 




n 1 :r' 


|d" :f 


m 1 .r 1 Id 1 .t |d' I 


r 's IS .,8 |8 I- .f x 


se :m 


m :f 


s .1 Is .f PI I 


"d It, .,t, 


d :- .r 


Free - dom's 


tri - umph 


o - ver all the globe. 


Stand by the 


flag on \ 


point - ed 


lance and 


glitt'ring bay - o - net. 


Stand by the 


flag all ( 


t :t 


| d' Ir 


d 1 .f 1 IPI .r 1 d' I- 


*n If .,f 


m I- .f 


n :se 


|1 :r 


PI .f Is .S| d I 


4 PI Ir .,r 


d I- .r, * 






f.D. 


PI .r :d .t 


d ls\ . s I's .,s s I- .f PI .r Id .t d I 


f .d in .,f 


( d .1, isj .s. 


JS| !S| . d It| .,t| d I- .r d .1| IS| .f| pi| I 


f .d IPI .,f 


j land and ocean 


bil - - low; By it your fa - - thers stood, unmoved and true, 


Liv - ing de- 


(doubt and treason scorn - ing, Trust - ing with cour - age firm, and faith sublime, 


That it will 


s .f :PI .r 


PI In . s If .,f PI I- .f s .f In .r |d I 


f .d In .,f 


Pl| .f| IS; .S 


d Id . PI Ir .,r|d I- .r, Pi| .f| IS| .S| |d I 


f .d IPI .,f 




Rail. 


^ 


s :- .s 


1 .t Id 1 .r 1 d 1 It .r 1 PI' Ir 1 d 1 If m 1 .r 1 Id 1 .1 


; |d' I- 


s :- .s 


f .f is .f PI Ir .1 se Irn n If s .1 Is .f m I 


fend - ed. 
{ float un - 


dying, from their pil - low, With their last bless - ing passed it, un-to you. 
til th'e - ternal morn - ing Pales in its glo - ries all the light f time. 


s :- .d 1 


d 1 .s Is .1 s Is .1 t It |d Ir 1 d 1 .f IPI' .r d 1 I- 


s :- .PI 


f ,r In .f s Is ,f PI Ise jl Ir PI .f Is .s 


i Id I- 



172 



MISCELLANEOUS. 



FAITHFUL AND TRUE. 



RICHARD WAGNEB. 


s, :d ,,d 


d :- . 


s, :r .,t, 


d :- . 


g; Id .,f 


f In .,r 


S| !S| ,,S| 


s, :- . 


S, IS, .,8, 


si :- 


s, Ini .,1| 


1, Is, .,s. 


Faith - fnl and 


true 


now rest ye 


here, 


Where love tri - 


ninph - ant shall 


PI In ,,PI 


n I- . 


n If .,r 


n :- 


n Id .,d 


d Id .,f 


d Id ,,d 


d I- . 


d is, ,,s. 


d :- . 


d Id .,d 


d : 


/ d it, .,d 


r :- . 


S| Id ..d 


d I- . 


si Ir ..t : 


d :- . \ 


./. ,. 

\ s, .ie, .,ie 


8, I- . 


8, IS, .,8, 


s, I- . 


S| !8| ,.S| 


s, ;- \ f 


/ crown ye with 


jy ! 


Star of re- 


nown, 


flow'r of the 


earth, 


(- J :J 


t, I- . 
s, I- . 


n In .,m 
d Id ,,d 


n I- . 
d I- , 


n If M r 

d IS| ,,s 


n :- . 
d :- . 


8, Id ,.ni 


s in ..d 


1, Ir ,,n 


d I- . 


r In j" 


r n; 


/ Blest be ye 


both, far from 


all life's nn - 


n, I- . 

noy. 


d It, J, 

Champ - ion vie - 


f, :f, , 

to - - riouH, 


/PI In ,,n 


n Id ,,n 


r It, ..t 


d' I- . 


1 IS .f 


r Ir ' 


\ d Id ,,d 


n, 11, ,,1, 


f, =3, .,8, 


d I- , 


: 


: / 


t, Id .,r 


i 
r I- . 


9 

f In .r 


< 
1, :l, 


Jr t.m.l. 

J .d Ir ,,n 


n I 


S, IS, ,,S| 


8, I- . 


d It, .1, 


f, if, 


"si :t| ,,d 


d I- i 


now rest tlu-e 


here! 


Maid bright and 


glo - rioaH, 


now rest thei- 


here ! 


1 r :n .,t. 


t, I- . 


1 IS .f 


r Ir 


de n Is ..s 


a 


s, :s, .,s, 


s, I- . 








*.d Is, ,,d 


d I- .d , 

The 


S ll .S 

d Id ,d 

Mirth's nois - y 

n If .m 
d I- 

rev ... 


f in 
r .t, Id 


ye have for - 

s ,fe If .n 


sak - en, 

n Ir 

t| It, 

sak - en, 
f If 
8, IS, 


s :1 .t 
d Id .d 

Ten - der de - 

s Is .s 


d 1 In \ 
d Id ( 

lights for 

n In 


t, It, 

ye've for - - 

r ir .s 


rt-v - - el 

1 .la Is .n 


Id 

el 


8, I- * 



MISCELLANEOUS. 



173 



s.d.f.Bl?. 




/ n Ir M d 


1 Is 


n IPI .f 


s I- .PI 


s .fe If j 


PI : 


d 11, .,1 


t| :t| 


d li il 


.1. 


d I- ,Sj 


tg M 
\ t| S| 


s, I - 


' you now a - 


wak - en, 


Fra - grant a - 


bode, en - 


shrine ye in 


Miss. 


/ s Id ,,d 


f If 


n de Id .d 


PI I- .d 


r Ir .t. 


d I- 


1 s, Ife, .,fe, 


s, Is, 


d1 ' :1 


.1, 


S, I- .8, 


8, IS, ,S| 


d : 


F.t. 


fB|7. 


/"I 11 .t 


d 1 I- .ta 


1 :l,se.ba,se 


1 I 


d s. Id ,,d 


d I- . \ 


I 8 -d If .f 


n Ir 


d Ir 


.r 


de ; 


d S| IS, .,8, 


Sf I- . i 


< Splen - dor of 


state, in 


joy ye 


dis - 


miss. 


Faith - ful and 


true, 


/"l ;l .f 


S If 


1 It 


.t 


1 I 


1 PI IPI ,,P1 


PI I- . 


' d f Ir a- 


d Ir 


PI In 


.PI 


l. : 


fd Id ,,d 


d I- . 


s. *r f 

S| I .,L| 


d I- . 


j & 

S| td ,,i 


f IPI ,,r 


d It, .,d 


r I- . 


S| IS) .,8) 


s, I- . 


S| I 


n, .,1, 


1, IS, .,S| 


s, Ife, .,fei 


S| I- . ( 


now rest ye 


here, 


Where love tri - 


umph - ant shall 


crown ye with 


jy ! 


' m If ,,r 


PI I- . 


n Id ,,d 


d id .,f 


n Ir .,d 


t I- . ! 


d IS| ,,S| 


d I- . 


d Id .,d 


d I 


:l. .,1. 


s, I- . 


Where love shall crown ye with joy ! 


(S| Id ,,d d I . S| Ir ,,t| 


d I- . a. Id ,,PI s In ,,d 1 I 


S| IS) .,S| S| I . S| IS| ,,S| 


a ' a a 4- *11/1 

S| t . S| S| ,,S| L| <i .,1 U 


Star of re - nown flow'r of the 


earth Blest be ye both, far from all 


/PI In .,PI n I- . m If ,,r 


PI I- . PI IPI .,PI PI Id ,,PI f I 


\ d Id ,,d d I . d Isi ,,S| 


d I- . d Id ,,d PI, II, .,1, f, I 


pp from all an - noy. 


s S In .,r d :- . I .d 


d I I- .d d I- . 1 


t It) ,,S| S| I . I .ni| 


PI, I fj I- .f| HI I I- . 


.... life's an- noy, from 


all life's an - noy. 


r If ,,f PI I- . I .S| 


s, I- li I- .1, s, I- I- . 


^i IS| d I- . I .d| 


d, I I- .d, d, I- I- . 1 


life's an - noy, 





174 



MINOR MODE PHRASES, 

SELECTED FROM WELL-KNOWN COMPOSERS. 

M M 



For the 5th requirement of the Intermediate Certificate, any one of Nos. 11 to '22, taken by lot, must be Sol-faed in correct tune and time. 
Two attempts allowed. The key may be changed when necessary. 

No. 1. KEY O. Lah is R From "'Tis when to sleep." SIB H. BISHOP. 

|d :r In :f |t, :n jl .1 :d |r :n II, : | 

un - daunt - ed I on we stray, Through I many a tan - gled I brake, 



(II, :l, .1 

( | Still as u: 

:- .r |d .r :d .t |1, 



. 

:l, ) 

We ) 



II 



pause to mark tue 
No. 2. KEY fib Lah is 0. 



,] 14. , il ,1 

d |t| .n, II, *t| d .r 

lent way The I cau - tious trav - 'lers 



m 

take. 



II 



From the "Turkish Drinking Song." MENDELSSOHN. 

In, |t, !n,.,n,|d !l, .,t, |d '.I, ,,d I n l |d ' 

Bump not the flask, thou I churl - ish clown, On the Iboard as tho' you would I break it ! 



No. 3. KEY A. Lah is 

:ri .r Id :1, |t. 



At 



But 



.t| |d :r 

ly, soon as 



No. 4. KEY C. Lah is A. 

:1 |1 :n |n :d' 

Sweet I Spring a - gain re 



:l I n :f 

The I birds are 



|r :n 

sing - ing 



No. 5. KEY A. Lah is F. 

:n .r Id Id |t, .1, :t, .d 



n ,f:n |n :1, 



:- .t, Id :d 



Christinas - time, when I frost 



is out, The I year is grow - ing 



From ft Part-Song. W. BOTD. 

:r |f :f |n :- |- J 



:f 



m 



:r 



A - pril comes, 'Twill ' wake and bloom a 



:se, 



old, 

I, :- |- 

gain. 



d 1 :- 

turn 



|t :t II 

ing, Makes I ev 



d :r |t, :- .dll 

from each spray, 'Tis | I 



From "The Dawn of Day." WELSH AIB. 

:d' |t :l II :- _|se ) 

'ry bo - som I glad, ) 

:l |d' .t:l .sell : |- 



lone am 



sad. 



1, :- 



n : 



From "There are good fish in the sen." J K. THOMAS. 

d .t,:l, ,t, |n, :sei II : | 



:n 



:r .d 



:n 



No. 6. KEY D>. Lah is tip. 

\ :1 * I <*' :t .1 jse.l :t .sell :1, 

( From his' cave in Snow - don's | mountains, 

:l .tld'.n'Jr' 4' |t .r 1 :d' .t II .d 1 :t J 



From " Of noble rnce vas Anenkin." WELSH Am. 

:1 .t | d .1, :r ,t, | m :n Id :1, 1 



Hath the ' pro - phet min - strcl I spo - ken; 



c ;l .tid 1 

1 It lo 



meiis great sue - I cess in 



|se 

war. 



:- .n If .n :f .r |n 



:se 



Of I con - quest the sure | to - ken. 



MINOR MODE PHRASES. 



No. 7. KEY C. Lak is A. 



From a Part-Song. H. 

(In il In |f In .r [1 in \f In .1 [1 II .se|l :l_.t|d' I 

( We I all must work, it | is our lot, Each I one must take hi 

{ 



In^'id 1 Id 1 |d" Id 1 .t II II |1 

There's | no - thing done, There's I no - thing won, With - 1 out 



.sell 



.se|l 



his ' part; 

.se 1 1 : | 



175 

I 



l : 

{', 
l : 



No. 8. KEY A. Lah ~s F%. 



the earn - est | heart 

From a Part-Song. C. G. ALLEN. 



In, 


d I 


t, II, 


t* 
, t n, . n| 


n I 


r Id 


t, I- I- 


The 


sad 


leaves are 


dy - ing, the 


sweet 


birds have 


flown, 


:pii 


1, I- 


l*i *d 


t| Ise, n, Ini 


d : 


r Id 


t, I- |- 


O'er ev 


'ry fair bios - som once 


bloom 


ing and 


bright, 


It, 


n I 


r Id 


r I |d Il| 


n, I 


|li :se. 


i, :- 1- 


The 


frost 


spi - rit 


lays her cold 


fin 


gers to - 


night. 


No. 9. KEY BJ? 




From "Judas." HANDEL. 


Id j 


n Ise, 1 


i It| .d r Id ,t| d Ir .n |f In .r n 


Ir ,d |t| II, n I j 


Where war - like < 


fu das wields his rig] 


it - - eous sword. 



No. 1O. KEY P. Lah is D. 

In 

Mourn ' 



II In .,n |d In .,n|t| I 

1 1 not for the owl, nor his ' gloom- 1 



From "The Owl.' J. R. THOMAS. 



:n 

Nor 



n 



In.,mm 



n |1| 

y plight; 

.d |1, 



.,t| id :d .,r |m :n 

The | owl hath his share of 



lone - ly the bird, nor his gha^t - ly mate, They're each un- to each 



jlse il Is .s |f In .nlr Id |f I- .n II If jr |n In 

( Thrice I fond - er, per-haps, since a I strange dark fate Has I rent them from all be 



1. : 

good; 

m : 

pride, 

1. :- 

side. 



No. 11. KEY Bb. Lah is G. 

lp\\ \m\ I- ,ni|ba| Isei 

Veil'd I by thy cloak of 



From "Good night, thou glorious sun." HENEY SMART. 

|t| :t| Id :m Ir :1| Id | It, 

gold, Thy I day's high du - ty | done. 



i 



No. 12. KEY C. Lah is A. 

Il Ise II |se In 

On I thee a - lone our 
No 13. KEY D. Lah is B. 

(In II In |ba 

( Or I heav'n, earth, seas a 



n Ire |n In Iba Ise 

spi - rits stay, While | held in 



From the tune "Hereford." P. LA TROBE. 

5 |1 It Id' It 11 

life's un - | e - ven way. 



{( 



lie, 



:se 


[1 


1 



1 


:t 


Id' 


:s 


and 


1 sky 






In 


| one 


ec 


If 


in 


:r 


Id 


:t 


IL 




Ere 


u 


a 


daugh 


ter's 


1 blood. 



From "Jephtna." HANDEL. 

|l :t 

fu - sion 



176 MINOR MODE PHRASES. 

No. 14. KEY D. Lah is B. From "The Lady of the Lea." HENRY SMART. 

urn In |ba Ise ll It |d' I Id Id |r :- .d Id : | I 

( I Cold with - in the | grave lies she, I Sleep - iug peace - lul - 1 ly. 

No. 15. KEY!). Lah is B. From " Black-eyed Susan. " LEVERIDOE. 

< .n ll .t Id 1 It J Ise .1 In I- .f In .r Id It| J| Id .,r|n I- .> 

* All in the ' downs the fleet was I moor'd, The streamers ' wav - iug in the I wind, ) 

5 .d In .balse In .n ll .t Id 1 In 1 . I In .,1 Id 1 .t ll ..sell I- 



Does my sweet I Wil - liam, Does my sweet I Wil - liam I Siiil a - uiong your I crew? 

No. 16. KEY C. Lah us A. From "Now May is here." HENRY SMART. 

ll .sell It [se.balse.l It Ise |n ll .sell Ise |t In Id 1 I | 



No. 17. KEY A. Lah is Ffi From the same. 

Hi in : |t| :sei Ini : | :n t ibai isei |1| :t t Id : | 



No. 18. KEY C. Lah is A. From " Achieved is the glorious work. " HAYDN. 

n :n |ba :n I ba :se 1 : II :se 1 Is If I |n J 

sil It |d' Id 1 II it |se I Ise Ise 1 :1 In I- |n : 

No. 19. KEY C. Lah i.s- A. From "Esther." HANDEL. 

in Ise In II I Ise In Iba Ise II I Ise ll It Ise Id 1 I It 

For I ev - er I bless - I ed, For | ev - er ' bleas - I ed, For ' ev - er I bless - | ed. 

No 2O. KEY B|?. Lnh iff 0. From "Jack Fros;." J. L. HATTON. 



d It| |se, :m, Iba, Isei |1| It 



d Ir |t ( :se, 1 1, :t, se, I 



111 It, |se, I i 

Um, Ise, |1, ll, Id It, |t ( ll| In Ise, 1, Id it, :se, jl, : ,1 

No. 21. KEY C. Lahit A. From "The Three Fishers." G. A. MACFARREN, 

jln Iba |n Iba Ise ll |se ll It Id 1 |t Id' Ir 1 Id 1 |r' It 11 I- |- :- h 

No. 22. KEY EJ7. -JMhisC. Phrases from "Israel in Egypt." HANDEL. 

<lse II in |ba Ise II If |n :- ll I- | Ise Iba Ise |1 > 

(Ise II .t Id 1 J |se I- In I- | :d II Ise |n In Iba Iba |se > 

5 Ise II : | :n Ise :ba |n :ba Ise ll .t d 1 :1 



se : 



VOICE TRAINING. 



177 



Voice training naturally divides itself into three departments^ 
the training of the chest, the training of the larynx arid the train- 
ing of the mouth; in other words, the control of the breath, the 
proper use of the registers and the production of good tone. There 
must be exercises for training aud strengthening the muscles of the 
chest, to obtain control over the slow emission of the breath; ex- 
ercises for developing and strengthening the registers, and exer- 
cises for placing and purifying or beautifying the tone. Only the 
general principles of voice training are given here. More com- 
plote instructions will be found in the Standard Course and 
Teachers' Manual. Behnke's "Mechanism of the Human Voice" 
and Webb and Allen's " Voice Culture " are also recommended, 
especially the latter for exercises and studies. 

The vocal organ is a wind instrument, the machinery of which 
consists 01 

THE BELLOWS. The Chest and Lungs which supplies the motive- 
power breath. 

THE TONE-PEODUCEE. The Larynx which creates the tone. 
THE KESONATOK. The Throat and Mouth which gives color or 
quality to the tone. 

The Bellows. The apparatus of breathing may be 
thought of as a wind-chest, having at the back the back-bone, at the 
sides aud in front the ribs and breast-boue, and at the bottom a mov- 
able floor called the diaphram. This diaphram is a muscular mem- 
brane placed across the body, forming a flexible partition between 
the chest and abdomen. It is arched upward like an inverted ba- 
sin. During inhalation it flattens and descends, thus increasing 
the capacity of the chest. The lungs, which fill the greater part 
of this wind-chest, are like two great sponges, full of cells, con- 
taining air. Respiration consists of two acts namely, inspira- 
tion, taking in the air, and expiration, giving it out. The forces 
by which these acts are carried on are the natural elasticity of the 
lungs aud the muscular action of the ribs and diaphram. It is 
not necessary for our present purpose to describe all the actions 
of the muscles used in breathing, it is enough for the singer to 
know that such muscles exist and that they need to be trained and 
strengthened. The Wind-pipe is a tube or passage-way for the air 
to and from the limp's. On the top of the wind-pipe is placed 

The Tone-Producer The instrument of voice, which 
is in every persons throat, is called the Larynx or Voice-box. It is a 
very complex structure, consisting of various cartilages and liga- 
ments, and may be described as resembling a funnel, the bowl of 
which has been bent into a triangular shape. The most prominent 
angle forms the protuberance, which may be seen and felt on the 
outside of the throat, commonly known as Adam's apple. Inside 
the larynx are 

The Vibrators or real producers of the voice. They are two 
elastic cushions, or lips, with sharp edges, called rather inappro- 
priately the "vocal cords." They are attached to the walls of the 
larynx, one on each side, and in ordinary breathing are drawn a- 
part, thus allowing the air to pass up and down freely. When 
the voice is to be produced they are brought together in the mid- 



dle of the larynx, thus closing the passage, so that the air from the 
the lungs being forced past the vocal cords, sets them in vibration 
and thus produces a tone. The pitch of the tone produced is ac- 
cording to the thickness, the tightness, and the length of the vocal 
cords set in vibration. The thicker, looser and longer the cords 
are the lower is the tone produced; and the thinner, tighter and 
shorter they are the higher is the pitch of the tone. Let it be 
clearly understood that the voice originates in the larynx, its pitch 
is varied there, its quality, good or bad, it gets in the mouth. 

Tlie Registers are caused by the quantity, that is, the thickness 
and length, of the vibrating membranes put in use. A register is 
a series of tones produced by the same mechanism by the same 
adjustment or action of the vocal cords. In the lowest or Thick 
register the tones are produced by the vibration of the vocal cords 
through their whole length and thickness. The sensation is as 
though the tones were produced in the chest, and for this reason 
this series of tones is called by many teachers the "Chest " register. 
In the middle or Thin register the tones are produced by the thin 
edges of the vocal cords alone vibrating. The sensation is that 
of a vibration in the throat, for this reason this series is called by 
many teachers the "Medium" or "Falsetto" register. For the 
tones of the highest or Small register the vocal cords are shortened, 
leaving only about one third of their length to vibrate. The sen- 
sation is as though the tones were produced in the head, hence 
the term "Head" register. The physical cause of the change of 
register is this : as the voice ascends in the Thick register the 
cords are stretched more and more tightly for each higher tone. 
When this process of tightening has been carried as far as the car- 
tilages will bear the strain, the register is changed, and the thin 
edges of the cords vibrate, producing a higher sound with less ef- 
fort. As the voice ascends, the process of tightening once more 
commences, and goes on until again the cartilages have reached 
the utmost point of tension. Beyond this point the voices of men 
do not go, but women have a still higher register, which is pro- 
duced by shortening the cords. These doctrines of the registers 
are not founded upon mere conjecture, but are based upon facts 
obtained by actual observation, by means of the laryngoscope,* 
of the action of the vocal cords in the living throat. 

The point at which the vocal cords naturally change from the 
Thick to the Thin register is just below the pitch G, ruo.-t com- 
monly the break occurs at E or F. This break is at the same 
point of absolute pitch in all voices, whether of men or women. 
It is in the higher part of the male voice and lower part of the fe- 
male voice. The change from the Thin to the Small register oc- 
curs only in the upper part of the female voice, about the pitch of 
g 1 , top of the treble staff. The change from the Lower Thick into 
the Upper Thick, and from the Lower Thin into the Upper Thin 
are changes of quality more than changes of mechanism or action 
of the larynx. 

* The laryngoscope (larynx-seer) is a small mirror with a slender handle. 
By placin" it in the back of the mouth, over the throat, and with a properly 
adjsted light, the whole machinery of the larynx may be plainly seen. 



178 



VOICE TRAINING. 



The diagram shows the ordinary *ange of the fcuman voice, the compass of the different 
voices and the divisions of the registers. It will be noticed that the Tenors and Basses use the 
Thick register almost exclusively. Men naturally use this register in speaking. Very rarely 
a man may be heard speaking in his Thin register, with a thin, squeaking quality. The constant, 
use of the Thick register in speech is the reason why men are tempted to strain their voices up- 
ward, and to neglect the cultivation of their Thin register. Tenors should carefully train the 
upper tones of the Thick and Lower tones of the Thin register Women commonly speak in 
their Thin register occasionally a woman is heard to speak in the rough Lower Thick. It is 
this common habit of using the Thin register in speech which tempts them, in singing, to 
employ it downward more than is necessary, and so, to neglect and ignore the better tones of 
the Thick register. In women's voices it is the Thick register which is commonly found to 
be uncultivated. Many soprano singers do not know what it is, and even contraltos are afraid 
to employ what they think is a man's voice. In men it is the Thin register which is usually un- 
trained, and Tenors hesitate to use what they think is a woman's voice. 

It is never safe to force a lower register higher than the limit here given. The upper reg- 
ister may and should be carried downward, over or through several tones of the lower register. 
It is in this way that a blending or equalization of the registers is accomplished. A good singer 
should be able to pass from one register to another without allowing the difference to ho noticed. 
The three tones of the Upper Thick register, D, E, F, which may be sung in either the Thick or 
the Thin register, are called optional tones, and the pupil is advised to exercise both registers 
on these three tones in order to equalize their quality and power and to use either register inter- 
changeably. 

We now come to the third and last part of our instrument, namely 

The Resonator The throat and mouth. Quality of Voice ( that which makes the differ- 
ence between a hard, wiry voice, a soft, clear voice, a nmtHed, hollow voice, a full, rich voice, 
etc.). depends chiefly upon the mouth, though to some extent on the management of the breath 
and the natural peculiarity of the larynx. The mouth can be put into a great variety of posi- 
tions, so as to enlarge, lessen, or alter its cavity. The different positions produce the different 
vowels "oo," "ah," "ee," etc. It is the shaping of the mouth more than all that determines the 
quality of the tone produced ; and the physical part of voice training, besides strengthening the 
lungs and bringing the vocal cords under the will of the singer, consists in learning to strengthen 
the good and suppress the bad elements of which every sound is made up. 

The direction of the breath is an important point. The cardinal rule is "throw the breath for- 
ward." Do not let it strike at the back of the mouth, or pass up through the nostrils, but try to 
direct it upon the roots of the upper front teeth. Think of the tone as being produced, appar- 
ently, between the lips, rather than in the throat. The quality of the tone depends greatly up- 
on the habit of throwing the air-stream forward in the mouth. Certain vowels naturally favor 
this habit more than others. In Knglish, "ee," "at'," "o" and "oo" (as in "peel," "pail," 
"pole "ami ''pool"), are all "forward" vowels. These vowels, however, do not promote the 
proper opening of the mouth. The most useful vowel in vocal practice, that which opens the 
mouth properly and places the tongue most favorably, is the ojH'ii vowel "<i/ " (as \i\father, bar, 
far, etc.). I5ut this vowel is commonly formed by most persons far back in the mouth. To bring 
it forward, begin the tone with " oo " placed well forward, upon the lips, then change the " oo " to 
"o," keeping the lone forward and finally change the "o" to "ah," keeping the "ah" forward. 
It is better to precede these "oo, oh, ah" exercises with staccato exercises upon the syllable 
' ' too " to secure a clear attack ; they also throw the tone forward and make the throat supple. 

Voice Training in Class. It is only to a small extent that voice training can be carried out 
in class, but the experience gained in a well trained class will encourage many pupils to seek ad- 
ditional practice in private lessons under a competent teacher. Only when the pupils themselves 
are intelligent and observant students of their own voices can voice training in class be profit- 
able. In ignorant and careless hands it may destroy voices by forcing them up into unnatural 
registers. No teacher should attempt to carry his pupils far into these studies, who has not him- 
self studied and been trained in them. It is well for the student to know at once that the secret 
of success will not be in the particular form of his exercises, or in the multitude of them, or in 
their being written by this man or the other, but in their being frequently used and perfectly 
worked through. Everyone should seek to have a cultirated voice. The cultivated voice is 
known from another by its first sound. There is no mistaking the master of his instrument. 

a. The double horizontal lines at ft shows the places of the great break between the Thick 
and Thin registers. 

* The single lines at b, c and rl show the places of the lesser breaks 

The dotted lines show the average places of the breaks. 

Only the ordinary compass of voices is given in the above diagram. Many voices are capa- 
ble of carrying the tones several degrees higher or lower than the limit here assigned. In prac- 
tice, however, it is best never to force the extreme tones. The pupil should confine his practice 
to those tones that can be reached with comparative ease. 











C 4 












b 1 












a 1 


j 2 
j ^ 












< 












s x 










g 1 


W <o 










F' 


5....(ill 












X 












H 










E 1 


M 
N 












ft. 












ft. 










D 1 


D 


























03 










Z 2 


W 








B .... 


..... |< 


O S 


> 








a 


S 1 


5 








o< u. 


i 

o j 

> S 


| 






A 


b) " 

O 

J 














P 


i 


I 




F 


M 






t 


1 






X 


I^P 


4 


j 




E 






I 


a 






0( 






^ 






M 


03 


i 


' 

5 




n 


ft. 
ft. 


tt 


( 


i 






g 


w 




: 


j 






H 






5 










i 







(i 






I 


1 











r 


^ 






O 
M 








A, 












F, 










1 


- i: 










a 


6 










4 












1 


\ 


, 










"i 


o 2 












X * 










C 


' a 










B 8 


3 












3 










A, 












G 2 





VOICE TRAINING. 179 

Breathing Exercises. Position: Pupils standing, arms akimbo, bands upon the waist, fingers in front. 

I. Intutle slowly us the teacher raises his hand. 

Draw in the breath through a small opening in the nearly closed lips, as though sipping hot soup. Expand the waist and lower part of the chest but 
to not raise the shoulders. 

Exhale suddenly as the teacher drops his hand. 

Expel the air through the wide open mouth, as in a heavy sigh. 

Repeat a number of times. 

II. Inhale as above. Hold the breath while the teacher's hand remains up, about four seconds. 

The breath must be held, not by closing the throat, but by keeping the chest distended the month and throat open. 
Exhalt as above. Several repetitions. 

in. Inhale rapidly and deeply, through the nostrils, as the teacher raises his hand with a quick movement. 
Exhale slowly and steadily as the teacher gradually lowers his hand. 

Expel the air through a small orifice in the lips, as though " blowing the fire," or cooling the hot soup. The air must not ooze out, as it were, of its 
own weight, but should be forced out with more or less pressure from the chest. Repetitions. 

IV. Inhale quickly as in III. 

Exhale slowly through the closed teeth forming the sound of s (as in hiss). This may also be done with/, th, sh, also changing 
from s to/, etc., without stopping the flow of breath. 

llepetitions. 

V. Inhale as in III. 

Exhale sustaining the tone G, vowel Ah, while the teacher slowly counts eight; again ten, and again twelve, etc. Increase the 
lt'iith of -tone at each lesson until it reaches twenty or more counts. 

It is tot intended that all of the above exercises are to be done at each lesson, only one or two should be done at a time. 
They should be introduced in the order given, and when all of them have been practiced the teacher will vary the exercises so as to 
avoid sameness and mere routine. 



1. KEYS D, E, F. May be used in First Step. To be taught by pattern. 

d : |d : Id .d :d .d |d : Id :|:- 

Koo, f koo t ' koo, koo, koo, koo, koo, f I Oo Oh 



Ah. 



II 



m 

Koo, 



| PI 

koo 



ni .PI ' PI . PI | m '. I PI 

koo, koo, koo, koo, koo, | Oo . 



.Oh. 



Ah. 



S 
Koo, 



Is 

koo 



s .s :s .s | s : Is 

koo, koo, koo, koo, koo, I Oo. 



.Oh. 



Ah. 



II 



8 

Koo 



|m 

koo 



d .d:d .d |d : Id 

koo, koo, koo, koo, koo, | Oo. 



.Oh. 



Ah. 



2. KEYS C, D. 

d : |m :s Id 1 : 

Koo. . . .koo koo I koo. 



.Oh. 



Ah. 



id' : 

t I koo, 



|s :n 

koo, koo, 



koo.. ..Oh | Ah.. 



180 



VOICE TRAINING. 



1. KEYS E, F, G. May be used in Second Step. 

d :- |- : Ir :- 

Koo oh.. ..ah t I Koo.. ..oh. 



.ah 



n : 

Koo.. . . .oh., 



I- 

.ah 



2. KEYS E, F, G. 

d : I : Id :r |n :r Id :r |n :r Id :r |n !r Id : 



Oo f Do.. 

Oo,...oh f Oh.. 

Oo, ...oh ah f Ah. 

Koo " 



.oh. 



.ah. 



3. KEYS E, F, G. 

id :- I- : |d.r: 

Oo t 

Oo....oh j Oh 

Oo oh ah f Ah 

Oo j Oo 



J'H f 
U. .1 


n j I n .r 


d.r :d j n j :n.r 


dj*!n.r njlnj* d I | I 






















Oh.. 


Ah.. 



4. KEYS D, EJ7. For Third Step. 

d : Ir : In : If : Is 

Koo-oh-ah, f I Koo.-oh-ah, f | Koo-oh-ah, f I Koo-oh-ah, f I Koo-oh-ah, f I Koo-oh-ah, 



1 If a piano or organ is available the following exercise may be used instead of No. 1 and 2, page, 179, and Nos. 1 and 4, page, 180. 
May also be used with the time-form of No. 1, page, 179. 



=)= g| X _J 



# . * 



f 



Koo-oh-ah, etc. 



May be carried up to E at the discrectiou of the teacher. 



m 



133: 

~* r*3 



-J-**r-d- -T|M X Xfe~rd~ j X *. ^* *SltL^ .& **h' 

=H i! J f =w*3 ^ -^f^^fr- 
* * ^ p n * 



~ 



*a=tf 



9^ 



-JHH^ 



? # r 



-aHt-f 



At first the practice to be confined to the limit here given. Later on, at the discretion of the teacher, the compass to be extended 
up to G 1 and down to, G 9 in the proper registers. 



VOICE TRAINING 



181 



1. KKYS E, F, Ffl, G. 



il d : - I 



d 

Koo 

Koo, .oh... f Oh. 
Koo-oh-ah.. f Ah. 
Koo Oo. 



d jr l PI .f | s .f : n ,r I d .r : n Jf | s .f : PI .r 



d ,r :m .f s .f :m .r id : I 



t Oo. 



.Oh. 



.Ah 



2. KEYS E, F, F^, G. 



l d '- I 

Koo f Oo 

Koo, . oh . . . f Oh 
Koo oh-ah. . f Ah . 
Koo . . . . f Oo . 



d .m :r .1 | m .s :f .r I d .m :r .f | m .s :f .r I d .m :r .f | m .s :f ,r I d : | 



.Oh. 



.Ah. 



3. KEYS D, Ej?, E, F. 

/^ '8: 

d :- . Id :r .n :f .s 

Koo, etc. Oo, etc. 



:s ,f :n .r |d : 



\\ 



4. KEYS C, D!?, D, and higher at the discretion of the teacher. 

^ # 

d :- Id :r .PI If ,s :1 ,t |d' "It .1 |s S : 

Koo, etc. t I Oo, etc. 



3. KEY A, At?, G down to D. For Thin register, male voice. 
Thick ........... Thin Thin 

sld : |m :s id' : | : Id 1 :d' 

( I Koo koo koo 1 Koo I Koo koo 



koo 



t :t 

Koo koo 



t 

koo 



:t |1 :s 

koo koo koo 



1 :t |d' :- Id' :- t :- jd 1 

Koo koo koo I Koo koo 



il 



6. KEYS EJ7, E, F, FJt, G. For Thin register, male voice. 

d : | m :s id 1 : | : Id' :t |1 :s id 1 :t 

Koo koo, koo, I Koo t ' Koo koo koo koo \ etc. 



d 1 : 



d 1 :t 



7. KEYS EJ7, D, Db, C. For Thin register, male voice. May be sung by ladies and gentlemen together, ladies singing an 
octave lower than written. 



:f 



m 



m 1 



Eoo, koo koo koo, | etc. 



n 



|s' :f 



:r r 



|d' :- 



182 



VOICE TRAINING. 



KKYS D, Eb, E, F. For blending the registers. 
1. LADIES. 
Thick. Thin. 

d :- |- : id :- I- 

Koo - oh - ah t ' K - oh ah 



2. GENTLEMEN. 
Thick. 

d' :- |- 

Koo - oh - ah 



Thin. 

id' :- 

f I Koo - oh 



ah 



II 



3. KEYS D to F. For blending registers, female voice. 
Thick. .Thin. Thick. Thick. Thin. 

d 1 ; | n_r-^ I d^ : | : I d ; s :- 

Ah.... I.... f 



Thick. 

Id : 



Thick. Thin. Thick. 

d :- |d' : Id :- 



t I Ah. 



= 



4. KEYS C, CJL D, Eb. For blending registers, male voice. 
nick. Thin. Thick. Thick. Thin. Thick 

d 1 :- |r' ;- id 1 :- I : id 1 : In 1 :- Id 1 :- 

Ah 



Thick. Thin. 

d 1 : is 1 :- 



Thick. 

Id 1 :- 



t I Ah . 



5. KEYS C to E, for female voice. KEYS A to I)b> f r mule voice. 
Thick. Tli in. Thick. Thin. 

d ; |n : is : | : Id | |f 

I Ah [777. Uh 

Thin. Thin. 

s : If : In : I : I n : 



Ah. 



Ah. 



6. KEYS I> to F. 

d :- . In 



Oo 
Oh 



oh 
ah 



ah 
ai 



Id 

ai 

ee 



I _ 



d 1 

ai 
e 



ah 
ai 



oh 
ah 



Id 



OO. 

oh. 



7. KEYS C to Eb. 

(id :-. |n :-. is :-. |d' 

( I Oo oh I ah ai 



n 



' - 



n 1 :-. |d' :-. Is :-. |n :-. id : | 

ee ai I ah oh I oo. 



Jl 



pp 8. KEYS F. E, Eb D, 

d .t :d ,r In 
Oo oU tfo M \ ee 



PP 
n 



oo oh 



:n 

ah 



.f 



II 



I .1 

0) ah 



(I 

ah 



,f 

Ai 



oo 



.1 

oh 



il 



,t 
ai 



d' 

N 



VOICE TRAINING. 
1. KEYS B b, A, Ai? and G. For the Thick register. Sing i-lowly, with full, deep, resonant tones. 



183 



Ah. 



2. KEYS G, Aj?, A and B|?. 

S| !f| | Pl| !f| I 

Ah.. 



3. KEYS G, A^ and A. Small register only. Sing softly, use very little breath. 

nd 1 :t Ji :s id 1 :t |l :s id 1 :t II :t 
tUh 



4. KEYS G, AJ? and A. 



t IThin... 

{|d : |n :f 

6. Kr-Ys D, El?, E and P. 

{Id :n 



I Small 

s : I : Id 1 : |t : 



Thin 



: i : f : |m :r d : 



Small 

n 1 : 



Thin 

s :m 



Ah 

Oo, oh, 



ah, 



ai, 



ee,' 



ai, 



ah, oh, 



II 



6. Different keys for different voices. 

d :m Is : is .1 :s .f |m : |m.f:m.r|d : I d ,t, :l, .t, I d : 



Oo oh ah . 

Ah oh oo . 

Ah ai ee . 



Ah. 
Oo. 
Ee. 



Ah. 
Oo. 

Ee. 



Ah. 
Oo. 

Ee. 



pp 7. KEVH C, Cfl, D 



ii 
ii 



d.mls ,n |d ,m Is .m 



Ah. 



f .1 :d'.l |f .1 :d' ,1 



m 



s .t :r' ,t I s ,t :r" ,t 



d 1 :- I- :- 



d : I : f : | : s : I- : 



d 1 ,s *.ni ,s Id I 



8. KEYS F to A for female voices KEYS B 1? to E 1? for male voices. 

s, : | :d |m : | :? |d : 1 : 

Ah.... 



m 

s, : 

Ah.., 



:r if :- j- :n j. 



m 



....I 



ii. 1 ... 



p 



a, ;- 1- sa 



1 1 1 .1 * 1 1 j 1 1 > 1 1 



n :- h :r id !- I- J 

,,,,,, M I " Illfttli 



184 



VOICE TRAINING. 



ii 



1. KEYS C to G. Sing the first measure three times. 
D.C. twice. 

d,r .n ,f Is ,1 .f ,r d 

Ah.. 



2. KEYS C to G. 

D.C. twice. I 

d ,i .n t s II ,s S ,r Id 



I Ill' r : n .' 8 . :1 



4. KEY C to G. Basses and Altos not higher than E|7. 3. KEYS C to G. 



(|d,d'.t ,1 

(Uh 



D.C. twice. 



d,d'.t ,1 Is ,f .n ,r 

Ah 

8. KEYS C to G. 



II II 



D.C. twice. 

d',d.r ,m :t ,s .1 ,t 

Ah . 



d 1 



d ,r,nlf ,n,r 

Ah.. 



Sing the first and fourth measures twice. :$ 



d ,r,nlf ,s.l ,t 

6. KEYS C to G. D.C. twice. 

d .n Is ,d' Is ,n 

Ah.. 



d 1 .t,l: 

Ah.. 



.t ,1 is ,f ,n,r| d 



I II 



7. KEYS C to G. D.C. twice.l 

d ,n .s ,d' :t ,s .f ,r | d 

Ah.. 



8. KEY D. 

d.nlr .f |n .s If .1 |s .t II .d 1 |t j 1 Id 1 t|d'.l It .s |1 S Is .n|f .r In .d |r .t, :d 

Ah. 



Ah 



In .s If .1 I 



9. KEY D. 

j 1 d jc I n .d I r .n If .r j n .f Is .n I f 

j I La~ "la I la la I la~ la I la, 



{l^^|~ 



.d 1 Ir 1 .t |1 .t Id 1 



s J It .s |1 .t Id'.l |t .d'lr' ,t |d' : 

la, 

d ! 



La | la "L. 

f .s :1 .f | n .f :s .n I r .PI :f 



La. 



1O. KI.YS Bf, up to P. M. GO to 132. 



:d 4 r ,n r.m.f : n ,f 4 s | f |8 ,1 Is ,1 ,t 1 1 4 t 4 d':t ( d' <r 'l d 1 ||m' 4 r' 4 d'| r'^tld^H t ,1 4 s :1 4 s ,f I s f t nlt t n ,r| 

h II I 



11. KEYS B up to E. M. 60 to 132. 



Ah 



|d',r' t d'| t^tll ,t ,1 1 s ,1 ,s If ,s f | n t t t nlT t n t T | d 



12. KEYS B up to E. M. 60 to 160. 

(Id .n Ir .d ]r S In .r I n .s If .n |f j Is .f Is .t II .s |1 .d 1 It j It J 1 Id 1 .t |d" : ) 

(Uh | I I j 

jld'.n'lr' .d 1 |t .r 1 Id 1 .t II ,d' It J |s ,t :1 ,s If J Is .f |n.s If .n Ir .f In .r |d : II 

l|Ah I I II 



VOICE TRAINING. 



II 

(i 



f . KEYS C K jff enanging registers. 

d ,r,m:f,3 J,i(d' :r' |n- : |r',d'.t,l:s ,f.m,r|d 



Id 



2. KEYS F down to B(?. 

d 1 .t,l:s>f.m,r|d 



: |t,,dj,m:f ,s.l, 



:d 



8. KEYS G, A|? and A. To be sung legato to "ah". The parts may afterwards sing simultaneously, making three octaves 
SOPRANOS. CONTRALTOS and TENORS. 



(id 1 :t J |s .f :m .r id : |t, : lid :t, a, |s, $ :m, j id : |t a :- 
M : | : I : | : d' :t .1 |s S :n .r Id : |t, :- 



BASSES. 



(Id :t, J, |s, .f, :m, .r, Id, : |t, 

4. KEYS C to K, changing registers. 

Md 4 t| 4 d :n 4 r 4 d lr 4 d 4 r If 4 n ,r I n 4 r ^n :s t f i m\t t m t f :1 4 s 4 f |s 4 f 4 s :t 4 1 4 s ) 



HI <s ,1 :d',t ,1 It ,1 t t :r' ,d' 4 t Id' 



d'<t 



.d'lt.l ,t :r' 4 d' ,t J 



s 4 f 4 s :t <1 4 s f t m l f :l , 



8. KEYS G to Bl?, changing registers. 
BAS6K8 

d, Vri.n.jfLS, :i, .t, id : 



II 



A.t. 
ALTOS. 

ir ,: r ,, 



D.t 

TENORS. 

8 .d :r .n|f .s : 



:f 



t Id' :- |t : 



.s, :l, .t, Id :- 



(I 



SOPRANOS 

d 1 It J |s .f :n .r Id 



: |r In 



E.t. 
SOPRANOS. 

l s .d :r .1 



f.A 

ALTOS. 



f .s :1 .t id' 



. 

| f d :t, J, |s, ^, :n,jr, Id, :- |r, .PI, 



fD. 

TENORS. 

L 1 :t .1 |s .f :n .r Id : |r :m 



fG. 

BASSES. 



. 

:t, J t IB, :m h r, id, : | : 



186 



VOICE TRAINING. 
SOLFEGGIOS. 



51 



1. KEY G. 

d : In :s 



Dt. 



:- |f :r |d : 



d : 



d' :- |- :l Is :- |f :r id :- 



f.G. 

I 8 r 



: In : If : I is 



n :d |1, :r Is, : I : |d : |r : In :s |l, :r Is, : |t, : Id : | : 



2 KEY C. 

d : |n :- .f |s : |d : 



G.t 

: |t :-.! |s : |n : | 8 d : Is, : 



f.C. 



:- |d :- it, :-.d |r :-.n |d :- : | f .d :- |n :-.f Is :- |d : 



d' :- |t :-.! s : |n : d 1 :n |f :s II :- |d' :- Is :n |f :r d : ' : 



3. KEY El?. Lnh is C. 



: :se : :- 



P t 

n : :d |r 



; :n Id : :n it : : In : 



:se 



|t :- :se 1 : :- |n :- :d If :- :r 




pp D.C. 



:n 



t : :se |n ; :se II : : ]n : :d 



ft t f . t I 4- I 
t . |t| t t t t ' | t 



1 !- Id 1 "|t I- IN II !- I- |r I ire In !- ! J- J- 11,"!- I- |- }- 



KEY F. 



VOICE TRAINING. 187 

ETUDES. From WEBB & ALLEN'S VOICE CULTURE,* by per. 



, , m -P m p rn 

d,r.d,r:m . |d,r.d,r:n . |r,ni.r,m:f . |r,m.r,m:f . |pi,f.m,f:s . |f,m.f>:r . ) 

Ah (and other vowels.)| j 



. . . 

$|d,r.d,r:m,r.m,r|d 
f ,s .f ,nlr 



r,m.r,ro:r,m.r,m|r . : 



m,f.n,f:n,f.n,f|n . : 





m ,f .m ,r :d . |r ,m ,r :m ,r .m ,r |d 



D.S. 



2. KEY F. 



:m . |f,s.f,m:r . 



From WEBB & ALLEN'S VOICE CULTURE, by per. 

m,f.m,r:d . id,r .m,r :d ,r .m,f 





ad ,r .d ,r:ra ,f .n,f I 

( I Ah etc. 

sis :m . 

(1 m,f.m,r :m,f.m,r| m :d . r,pi.f,m:s,f .m,r|d ,pi,r:f ,m.r,d|s :f,m.f,r|d : 



r .s :- ,fe.m,fe|s 



f ,s .f ,m :f ,s .f ,m|f 



D.S. 



3. KEY D. 



^. ~~~ ^, From WEBB & ALLEN'S VOICE. CULTURE, by per. 

<>| d ,r .d ,r :d ,r .d ,r id :n . I s ,1 .s ,1 Is ,1 .s ,1 Is :d' . 



jll ,t J ,t:l ,t.l ,t| 



Slcl'olcllc *rl 1 

,1 ( s ,1 . o ,1 .o ,1 I a ! ( 



:t .,1 is : 
:d' . |l 9 U 9 t:l l ta^% 9 d^ 9 di:t,d^f^^:di^^|tf : II 

I I I M 

Od,r.m,f:s .d 1 |d,r.m,f:s .d 1 ir'jd'.t ,1 Is 



4. KEY D. 



From WEBB & ALLEN'S VOICE CULTURE, by per. 

r',d'.t ,1 Is . d,r.m,f:s .d 1 



D.C. FINE. A.t, 



.. . . 

^'j'^'It ,s .f ,r id :d' . ||*d,r.m,f:s .1 |s,f.n,r:d . > 



|4^r:n .f |m,r.d,t|:l| . |r,n,f,s;l , |d,r,ni,f:s , 

"Volo00nUni*."-A rmpM roethort of theorv aiul pracHre for the niltlvatlon and development of the vnlce. by 
st6 n O ABfi PnW|.hrt by Th Wtflow & Main Co.. 78 Baal Ninth it. Xiw York. In thl. ^ a 

n 



f.D. 



D.O. 



oo0nni*.- rtl 

Ch st6 n O ABfi PnW|.hrt by Th Wtflow & Main Co.. 78 Baal Ninth it. Xiw York. In thl. ^^ a ^^fl^^^^flS^i 
ffovomlna thn n.fl ftiui riavplornmnt of tbn Immiin voice nro fwllv and 0TOfiill.V *W Jninea. ^he pMltjnn of th > , wi il . oiti i in UH ^ T '.e 'WB^ " 
bten of tlie voice i Uluitvnted by nuauB of dlgf&>a. Th took ooatitai !BO thi laffiit a Uet variety of xrcise olid IMm 



188 

Pronunciation. A pure arid exact enunciation, making 
every word stand out clear aud distinct, is an essential feature of 
good singing. This can only be secured by special practice upon 
the vowels and consonants. Vowels are ways of emitting the 
breath; consonants are ways of interrupting it Both require def- 
inite positions and movements of the lips and tongue. Musical 
tones cannot be prolonged upon consonants, the vowels are there- 
fore the more important to the singer in the production of a good 
tone. But distinctness of utterance depends upon a shar,p, clean 
delivery of the consonants. Some of the vowels have already 
been practiced in connection with the voice exercises, and will be 
studied more fully presently. In first attracting the attention of 
the pupil to the action of the articulating organs it is easier to 
begin with the consonants. An articulation is a joint. A joint 
implies in this case both a separation and a connection of spoken 
sounds. The lips may come into contact with one another, or 
the lip touch the upper teeth, or the tongue touch teeth or palate. 
There may be thus an absolute or nearly absolute stopping of the 
vowel sounds. And these points of separation are also made 
points of junction. They are joints or articulations. The mus- 
cles of articulation are chiefly in the lips and tongue, for the 
teeth are comparatively stationary. 

The work has to be done by the Lips, and by Tip, Middle and 
Sack of the tongue. Properly devised exercises in articulation are 
intended to give special practice to these muscles. Thus the 
teacher will arrange a group of consonants to give exercise to the 
lips, another group to exercise the lips and teeth, and so on. 

The teacher will arrange groups for Tip-tongue, such as. To, 
No, Lo, Do. For the Mid-and Back tongue, Jo, Go, Yo, Ko. Vari- 



VOICE TRAINING. 



ons groupings may be made, as Bo, Co, Fo, Lo ; Mo, No, Po, To, 
etc. Various forms of melody may be used instead of the scale. 
The consonants may also be arranged as finals instead of initiaLi, 
thus, op, drn, 66, 60, etc (long sound ol 6, ope, ome, etc.) Again as 
both initial aud finals thus, Pop, Mom, Bob, Vov, etc. And again 
as double articulations, thus, o,.-po, cm-mo, 06-60, ov-vo, etc. Con- 
sonantal diphthongs should also be practiced, such as Bio, Clo, 
Flo, Cflo, etc. The limits of this book will not admit of a full list 
of such combinations. The teacher will construct such as he may 
think useful in his work. In these exercises the movements of the 
articulating muscles should be decided and energetic, considerably 
exaggerating the consonant element 



Vowels are produced by giving certain fixed forms to the 
cavity between the larynx and the lips. When the tongue, palate 
and lips are properly adjusted, the shape of the cavity thus 
formed becomes a mold into which the vowel is cast. Any change 
in the shape of the cavity will modify the character of the vowel. 
For the Simple rowels those in which there is*uo change from 
beginning to end the mouth remains fixed in one position. For 
the Compound voirels those which end with a glide into another 
vowel the mouth changes from one position to another. A com- 
mon fault is to makethe change too soon thus, for "day " is heard 
"da-ee;" "great" becomes "gra-eei;" "high," "Ai-ee;" "bow," 
"how-oo," t-tc. In singing a compound vowel the position taken 
for the first element must be steadily held until just at the close, 
and then an easy glide made into the vanishing sound. The 
teacher will arrange different successions of vowels, AS oh, ah, ai, 
ee, or oo, aw, a (at) e (Let), and others, and sing them to the scale, 
ascending and descending, as suggested in the exercise below. 



aa 

an 

oa 

oo 

ai 

ee 



LONG VOWELS, 
(ah) in ban. 



(aw) 
(ob) 



Paul, 

load, 

cool, 

paid, 

be>', 



far. 
law. 
pole, 
pool. 

pay- 
fee. 



11 

a 
e 
i 

UO (n) 



SHORT VOWELS. 
. . . . in but, 

.... " bat, 
.... " bet, 
... " bit, 
full, 



cut. 
cat. 
get. 
sit. 
pull. 



ei 
oi 
Oil 
CU 



DIPHTHONGS. 

(I) in height, 

Toy) " boil, 

(ovr) " out, 

(ew) " feud, 



pine. 
boy. 
how. 
few. 



LIPS. 

P in pine, pipe. 

B " bay, babe. 

Wll " whe>l, when. 

W " weal, way. 

M " may, maim. 



LIPS and TEETH. 
F in file, fife. 
V " vile, revive. 

TONGUE and TEETH. 

Til in thin, teeth. 
' then, bathe. 



CONSONANTS. 

TIP-TONGUE. 

T in tin, tint. 

D " deal, deed. 

LJ " lean, leal 

N " nut, nun. 

K " roll, roar. 



1 


JIDTONGUE. 




S i 


\ srtt, lean. 


K 


Z 


zone, nose. 


O 


Sh 


shine, dash. 


N 


Zh 


azure, treasure. 




Ch 


churn church. 




J 


just judge. 




Y 


you, due. 


H 



BACK-TONGUE. 

K in keen, kick, 
game, gag. 
sing, song. 



ASPIRATE. 
H in hail, la-ha. 



KET C. The scale, ascending and descending. 



Po, 
Oh, 



:d |d 

Mo, Bo, 
ah, ai, 



:d 

Wo, 

ee, 



r :r |r Ir 

Po, Mo, Bo, Wo, etc. 
oh, ah, ai, ee, etc. 



:n 



PI 



if :f f :f, etc. 



Make different groupings ascending with one series and descending with another. Various forms of melody and different 
groups f vowels will suggest themselves to the teacher. Prefix a consonant to each vowel, thus. Boh, Bah, Bai, Bee, etc. Suffix a 
consonant, thus, ohb, ahb, aib, ceb, eto. Then both prefix tmd suffix thub, bohb, bahb, buib, beeb, etc. 



THE STAFF NOTATION. 



189 



It is recomended that instruction m the Staff Notation be defered until the Third, or better still, the Fourth Step of Tonic Sol-fa has been passed. 
But for the sake of those teachers who may find it expedient or who may be compelled to introduce the staff early in their lessons, the exercises are 
arranged to correspond with the steps of the method, so that the staff may be taujjht concurrently with the Tonic Sol fa. Nothing in the staff notation 
should be taught until the corresponding matter in Tonic Sol-fa has been learned. Music is a thing apart from Notation, and the more thoroughly 
pupils understand the principles of music, the more easily will they master the staff notation. 



1. The Staff. 



FIRST STEP. 
2. Degrees. 



-added line above. 



4th line 


4th space. 








3rd space. 








2nd space. 






-1st line. 


1st space. 







space below. 

added line below. 

The teacher may have the pupils name the degrees as he points, thus "First line," "Third space," '-Second line," etc. 

First Rule. When Dok is on a line, Me and Soh are on the next two lines above. When Doh is in a space, Me 
and Soh are in the next two spaces above. Doh, Me and Soh are similarly placed all on lines, or all in spaces. 

The place of Doh is shown by the square character () at the beginning of each exercise. The staff without the clef, as in the 
following exercises, does not represent absolute pitch, therefore, any pitch suitable for the voices may be taken for th'e key-tone. 
The letters in parenthesis suggest the pitch which may be taken for Doh. 

As a preliminary exercise the pupils may name the degrees in the order in which the notes are placed, thus in No. 3, the pu- 
pils will say, "First line, second line, third line, second line," aqd so on. The pupils maynext "read the notes," thnt is, name the 
Sol-fa syllables in the speaking voice. After this the exercise is to be sung sol-faed. 

The bars are used in these exercises mainly to help the eye to keep the place in reading. The measures are numbered as a con- 
venience in calling attention to certain notes, correcting errors, etc. 



3. 



4. (GorB) 



L^ 



^ 



1 


3. (F) 


2 


3 


4 




6. (AorC) 

i 


2 


3 


4 


- 


^5 


^ 


^ <=^ 


1 


B 


^ ? 


_ ^ ^2 




^ | 


1 

F 


7. (D) 


2 


3 


4 




5 

:r: 


6 


1 


8 

3 


\ 


i^> 


_^2 __C2_ 


75 


_^ 


2 


-^ 


3 ; 


^ c * 





! 

hi~ 


3. (DorBf?.) 


2 


3 


4 


5 


G 


7 


8 
<S> -1 


\~ 




^^^ 













1 



190 



FIRST STEP. 



Second Rule. Octaves are rfis-similarly placed. When Doh, Me and Soh are on lines, their octaves, above or be. 
low, are in spaces. \\ hen they are in spaces, their octaves are on lines. 



1. (E) 

1234 






^ 


^*IJ 


I 






^_ 


^_ 






-. 


C^ 


^- ^ 





2. (C) 
i 



3. (G) 

1234 




1 ^ri 




I 




fz> \ *~< 




1 





. c> 1 ^>> 


> 


A 



4. (F) 

1234 


















^> 








r^/ 







5. (C) 

12345 078 


r 










/^> 




1 1 








<^-/ 


f*^/ f*^ 


<T> 


<Zt 


f^j 


EE 





-& & 


s^ 






& 


-^- 



6. 



^ 







^-_ 





__^ 


S> 





"^ 1 




^-^ 


^^ 


^l 


^L 




CJ^ 


S 



7. (G) 







o \ f^> 


\ 


_^_^ 


1 






i^> \ ^ 




1-r-. 


GV 








& \ 


1 


* 




1 


8. (D) 

1234 
I -&> -i 


5 


678 


^ 


f2. 


\ ^ ^ \ 


&--& 




V 


1 



Writing 1 Exercises. Copy into the stuff notation any of the exercises from Nos. 9 to 26, pages 9 timl 10, selected by the 
teacher, or similar ones supplied by him. They should also be sung from the staff copies. 

Copy intothf Pol-fa rotation any of the foregoing staff exercises, and then rewrite them on the staff from the sol-fa copy, plac- 
ing D,>h d'fferently from the printed copy. 

The place of Dolt for kev D. s> ace below, or third line; key C, added line below, or second space; key E, first line or third 
space; key F, first space or fourth line; key G, second line or fourth space; key A, second space. 



FIRST STEP. 



191 



Time. lu the Staff Notation the relative length of tones is represented by notes of different shapes for the different leneths 
Ihe notes 111 common use are: 



WHOLE. 

u 



QUARTER. 



Notes have two uses: 1. To indicate by their position on the staff, which tones are to be sung. 2. By their shape the length 
of each tone. Notes have no fixed or absolute value, they represent relative length only. The names of the notes indicate their re- 
lative values. A Whole note represents a tone twice as long as a Half note, or lour times as long as a Quarter note, and so on. 

Any note maybe taken to represent the time of a pulse. The notes commonly used as pulse-notes, are the Half, the Quarter, 
and the Eighth. The different kinds of measures and the kind of note taken as the pulse-note are indicated by the Measure Signa- 
ture, consisting of two figures in the form of aFraction. The upper figure denotes the number of pulses in the measure, and the lower 
figure the kind of note that goes to a pulse. 



Measure Signatures. 



Two-pulse measure. ) I 
Quarter note to the pulse. > r~ < 



Two-pulse measure, 
Half note to the pulse. 



Three pulse measure, ) 
Quarter note to the pulse. 



Three-pulse measure, j 
Half note to the pulte. / 



The bar indicates the strong accent, but there are no marks for the weak and medium accents. 
1. TAA TAA TA\ - AA 2. TAA TAA TAA TAA TAA 




Each part to be taataied as a separate exercise, then the two continuously as one. 

The Tie indicates the continuation of the tone for the time of both notes. The Dot increases the value of any note one half. 

The Tie. | J^J equal to J | j J J equal to ^ } 

The Dot. j J . equal to J J } j ^ . equal to ^ J [ 



| J^J equal to J [ 
j J . equa 



al to 




J. 



6. 



^L^J- 



^J-, 



1 



7. 



8. Three-pulse measure. Eighth note to the pulse. 



-4-f 



-s =-- 



J-J-J- 



p 1 1 



3" 



192 



FIRST STEP. 



1. (C) 



b-j 


2 
4 






i= 


i i a 
\-^ \ J si- L-L_ L_J_ ^JL_ ..^ 5^=^ 


2. (G) 


\ 


-^ 


1 1 *!_ _*L_ -+_^.^_ 
1 J 1 J *- 1 1 


3. (D) 


G> & S GJ S* *^ 
7ZJ 1 ^ 

1 1 . . . 1 r-J , 1 -t. f -4 


biz 


M 
i 


4 


^ 


-* 


* ^ -o -J * * 


P 
4. (F) 


-hH I 1 ' h- l-|-?s-r H a 1 1 [ 1 1 


5. 

C* 


(A) 


-* H J J J -^- - ) J_ -- E*-^H 

1 I" 1 1 1 I 1 S3 ' 1?"3 1 1 S3 f 1 1 "I 




.) 


^ 




J^- 


3 ^- -&^& ^ fa ^ N f= z*- -H E - -^-H 




2 








it '1 1 ' I J -J r " 1 


m 


^ 




~^5r~ 

-F^ ^- r ^. - ^as r \f r J 1 


6. (E>.) 


- 1 r h-H i rj ^ 1 




1 






-j 1 \ 1 1 ! = + -= 1 ^r- H 










^= 












Twin - kle, twin - kle, lit - tie star, How I won - der what you are; 
i s i i i i r~m 2 i 1 1 1 




A 


i 


m 


=^ -^ 


1 




I 






1 1 1 1 1 1 1 1 1 | 1 1 1 

-4- f2 __^_ : _i 1 J _ T _ H 





I 


JP 

4- 


-=t 

6, 

1 


- bove the world BO high, Like a dia - inond in the sky. 
- -= ^ f -f= !- (* -m h- H r-H 




* 




] 1 1 ! 1 1 1 1 1 * * H 



Writing Exercises. Copy into Staff notation, quarter note to the pulse, Exercises 38, 39, 43; half note to the pulse. Exs. 
40, 44, pages, 14 and 15. Copy into Sol-fa notation, Exs. 1, 2, 4, 5, page, 192. 



FIRST STEP. 
Half-pulses. 



193 



1. Quarter-note to the pulse. 

TAA TAA TAA - TAI 



TAA 



2. Half-note to the pulse. 

TAA TAA - TAI 



TAA TAA 



I2J 



I ? I I I I I 

J I 2 J J J | d 



Eaoti part to be taataied as a separate exercise, then the two continuously as one. 
3. TAA TAA TAA - - TAI TAA 

S __* fe fc_ 



TAI TAA 



TAI TAA 



5: (C) 

=s= 



K - K 



jqiq^^l^ 






6. (G) 



i 



-fs i 



~* ^ 

Now we have some fas-ter notes, Eighth notes we call them; We can "taatai" from the staff, Taa-tai, taa - tai, do not laugh. 
7. (F) 



IX IX 



8. (C) 



zz 


i 


nj-j-33~ 


i 1 


__j i 1_ 

ij j J J 


2 


^_^ 


.r r | 


fe^ 

1 1 


i , 
i 

c? 
ig ^ ^ ^-] 


NN 



Writing Exercises. Copy into the Staff notation . quarter note to the pulse, Em 48 and 50; half note to pulse, Ex. 49. 
page, 16. Copy into Sol-fa notation, Exs. 5, 6 and 8, page, 193. 



194 



SECOND STEP. 

Third Rule. Ray is placed next above Doh, and Te next below Doh. 

1. (C) 






2. (G) 



*= =* 



I ! 4- 






a 



I- 



4. (AorC) 









1 



5. (E>) 



Sing good night, sing good night. Now, their dai - ly la bor end - ing, 



^ : 



Sons of toil are home - ward wend - ing, Sing good night, sing good night. 

^ i 

==r=. 



Writing Exercises.-Copy into the Staff notation, quarter note to the pulse, Exs. 59, 60, 61; half note to the pulse, Ex. 
62, page, 20. Copy into Sol-fa Exs. 1, 2, 3 and 4, page, 194. 



Four-pulse measure, 
Quarter note to the pulse, 



line. $ 



SECOND STEP. 
Four-pulse and Six-pulse Measures. 

MEASURE SIGNATURES. 



195 



Four-pulse measure, 
Eighth note to the pulse, 



Six-pulse measure 



Quarter note to the pulse 



e < \ P f\ I ftix-pulse measure, ) 
Me. J M ' Eighth note to the pulse, f 



Each part to be taataied as a separate exercise; then the two continuously as one. 
1 . TAA TAA 2. TAA TAA 

-^--ibziM 






3. TAA TAA 




4. TAA TAA 



8. (C) 




6. (G) 






7. (F) 



p" H p_ f p p 




ff 






r ' "^ k L * L ^ 


Q 


___d 


[-Hixixix-^^k i 




^ l^ 


- i 








t -*\ 




CZ -| tx ^ K ? b^ 1" 


< 1 1- 


~\ 



8. (B[?orD) 



9. (C) 






-mr 


f f ^- == 


~< mr ~' 


1 


ik 


H R JT ^= ~y~1~n ^ 


m- 


1 ^ 1 


IX 







-- 





WritingT Exercises. Copy into Staff notation, quarter note to the pulse, Exs. 76, 79, page, 25; eighth note to the pulse, 
Ex. 83, page, 26. Copy into Sol-fa, Exs. 5, 6, 7, page, 195. 



196 



SECOND STEP. 



The Clefs and Key Signatures are explained on page 200. At present no notice need be taken of them, unless the pupils have 
passed the Third Step in Tonic Sol-fu, iu which case the teacher may explain as much of the subject as will answer present purposes. 






1. 



CHORAL SONG. 



U. 



SOPRANO. 



CONTRALTO. 



TENOR. 



BASE. 



I I 



f -- 1 



1. Swell the an - them, raise the song Prais - es to our God be - long; 



zr zt 



2. Bless - ings from His lib - 'ral hand, Pour a - round this hap - py land; 



S^: 



-I I \ 






3. Hark! the voice of nat - ure singr, Prais es 



to the King of kings; 



-C2- 



1= 



:& 


i ! 


f ^ 


, K 


Ff~~ 


-j 


P ] 


F ll 


Siiints ami nn - gels 


join tc 


1 
sing 

"I 1 1 


Prais - 


es 


^ J 

to our 

i 


heaven - ly 

: 


i ti 

King. 

Tl 


tfr 


1 E 







-J 




J E h _^ r 


J 


Let onr hearts, be - neuth His sway, Hail, the bright, tri - umph - ant 


S> -" 

day. 


N 




11 ^ 


T^ 


^ ^ ~ *r 







V. J < 


V-- 


-F 




ff 


2 . 


: J * 




Let us join the 

7~^ 1 1 1 
P> I ' ' 


chor - al 


song, 

' ~^ I 


i | 1 1 ^ 
And the grate - ful 

-f *- -A m 


tones pro 

-f- -r- 


long. 

^=fl 


-J 


9 






t 1 


L. : ' E .[. I 


! : -^ 


^ ll 



2. Round for four parts. * 



I J =t 

* a^- 



^ j 



High and low, One and all, Come, join our song, Hap - py har - vest home. 
3. Round for four parts. * 



-<& =P- 



4= 



r 



i 

Rouse ye now, Broth - er - band, Hon - est of heart, And firm of hand. 



1. 



SECOND STEP. 
GOD IS LOYE. 



19? 



U. 



^ 




r 1 1 

~m ajj m 










1 







cn i 


i 


t/" 

1. God is love; His 
2. Chance and change are 


mer - cy bright-ens 
bu sy ev - er; 


All the path in 
Man de - cays and 


which we rove; 
a - ges nioVe; 

f f 7^' 


3. E'en the hour that 


dark - est seem - eth, 

-r r r=-~- 


Will His change - 


less 


good - ness prc 


^ 

ve; 
' 1 


^^4 j j- 




_ 1 1 




si *> *> K 


F * 


\ 



|-0- - 1 




g-4- 












1 : n 


(s?r 


S 4- 


^ a 




[-m 

?! a 


I ^ 







I 

I 


^j ij 


i : i 

^m 




3 EE3SH 


Bliss He 
But His 


I o -&- -sy- 
wake.s, and woe " He light - ens; God is wis - dom, God is love, 
mer - cy wan - eth nev - er: God is wis - dom, God is love. 


IN'L 




























INP ' 


* ' 


yi 


' * a^ 


^ 


I* ^ 


* 





9 














:: 










From the 


gloom His bright - ness stream - eth, God is wis - dom, God is love. 

-^- 


/^~\ ^ ^ 






c 












/j II 


PA . ~ m 




( 
















_, _, <c? 


V~_ *j 






l 




dP* ~f_ 






* * 



2. 



THE MORN OF LIFE. 



i 



^=\ 



m^ 



1. The morn of life, how fair aud 

2. Youth's ar - dent mind, with joy e 



gay ! How cheer - iug 
late, E - las - tic 



and how new ! 
and sin - cere, 



: 



~5g"- i 

H! 



-J2i ~ 1 


F*r =ZF ^F =^F 


I ! 


1 1 1 


1 J :: 


\_2^ fl 


What 
Sus - 


-J 3 J 3- 

hope il - lumes each 
pects no ills that 


^ - 
ope - nil 
may a 


^ ^~ 
ig day, And 
wait, Nor 

^ (* , 


_ 9 5 5 g 

bright - ens ev - ery 
yields a thought to 

^ r f- -r_^ 

- - -T- ~r~ 


view, 
fear. 


i f | 


! 




^= ^ 


3 


bE_l_U 



198 



THIRD STEP. 

Fourth Rule. The place of Fah is next above Me; Lah next above Soh. Oi, Lah is one degree above Soh, and 
Fah one degree below. 

i: 



2. Round for two parts. 



=J 



3. 



T=rt 






T i I 



-M r 









4. 



r 






4= it 



t 



t- 



5. 






1 



6. Round for three parts. 



nw r> i r . - i 



7. 









Come and roam the wild-wood, Thro' the ver-dant plain, O - ver hill and mead-ow, Spring i como n, - gain. 

- ---*- & I I I I 



THIKD STEP. 



199 



Fifth Rule. Alternate tones of the scale are ^similarly placed. Doh, Me, Soh and Te are placed alike; Ray, Fah, 
Lah and DoW are placed alike. When d, n, 8 and t are on lines, r, f, 1 and d 1 are in spaces. When d, m, 8 and t are in 
spaces, r, f, 1 and d 1 are on lines. 



1. 



2. 



~3irTz~ . I n 



3. 



it: 



S 



4. 



E3G 



m 

-m 1 


-f- m m 


-r* 


~r ~ i* ^ 








^ 


u r 


P i 


Ci 




i ^ 


V 











* i 




a 






L^ / 

IT- i* 


(J 




. 







Q 


i . S^-I 


"i ^ r 


tif r 








l> 


1^ 


w 


ZE 


ta 


? 



5. Round for four parts- 

=J^5 
=a^ 



p_q_ 



It 



-? ^ J 



=F 



Sweet-ly sounds the roun -de - lay, Mu - sic charm-ing care a - way; Sitig we then, sing we then. 



6. 



q 



^ 



7. Round for four parts. 






"- 



Writing Exercises.-Copy into Staff notation, quarter note to the pulse, exs. Ill, 112, 116; eighth note to tho 
pulse, exs. 113, 117. Copy into Sol-fa notation, exs. 1, 2, 4, p. 198; 2, 3, 4, p. 199. 



200 IHIKD STEP. 

The Clefs. 

The Treble, or. G clef . The Base, or F clef jj. The Tenor, or C clef 25. 



THE POSITION OF THE LETTERS AS FIXED BY THE CLEFS. 





1 TCM 




r 


E 1 






/ 


' 


C 1 




C 1 


4 




A 




O^ 


JL TH 


F 







-c- 



Bl 



-O 



ti -wn 


G, 




Q. 


1 


K, 




T^ E > l 




C', 




f 1 * 


2 


A* 







F, 



THE STANDAKD SCALE AND PITCH OF VOICES. 



'Women's Voice*. 



G. 







E 






C 1 






A. 




F 






Middle C 






G, AI 




OJL.] 






C" * 






^v a 







Men's Voices. 



TEEBLE. 



BASE. 




THE REAL PITCH OF THE CLEFS, 



TENOR. 



G- 



Middle < 



^ G r 



-1 E,-- 



The Treble clef represents the G above Middle C. 
Middle C. 



The Base clef represents the F below Middle C. The Tenor clef represents 



XOTE. This nsi> of the C clrf is not the same ns its use in Qrcht-stral scores. Its proper place is upon a line the first line for Soprano second 
line for Mezzo Soprano, third line for Contralto and fourth line for Tenor. It hax been, thought bei-t to adopt the practice which is 1 .il<.\v< -.1 extensively 
in this country, und to place it in the tliinl space, t -us making the arraiiErement of the letters the same as that with the Treble clel and indicating the 



space, I -us making the arranpemeii. 
pitches \\hicL are really sung bj tlio male voice v hen reaUiug from the Treblts clef. 



THIRD STEP. 
The following five exercises are to be read by letter, not to be sung. 



201 



:7 


| ' I 


2 3 


4 


5 


6 


7 

E 


8 




l~ & ^~ 


^5>* 1 ' ' 





<^? 




t= ^ 


1 



10 



4. i 



10 









3 



10 



v_^ o 1 




5?_ 


/^v ,--, 


CLX 










-<? 



Writing Exercises. Copy the following in notes on the Treble Staff. 

6.\ C F |D A I G E B D 1 A ' G 1 E 1 F 

Copy the following on the Base Staff. 



D' C' 



7. 1 G F, | B 2 D, I G 2 E, I A 2 G, I B, C I A, D, | F 2 G 2 | C, 

8. KEY C G D 






& 



Table ofK.ey Signatures. 

A E 

-rg-tf i^L-rg-jL 

=P=^= ^Ptf=S= 




^^ 







BV C Do^ is on the added line below, Treble staff, and second sp.ce. 

.....-- -., . . . .J ' ,, -* /ipfrrpp above With two or more fats, the flat next to 

Base staff With ?i>"rps. the last sharp to the ripr' t is /e. Von, is on t i^rrti iiu 

the last is Do/i. With only one flat, that flat is Ibh, Doh is on the fourth degree below. 



202 



i. 



THIRD STEP. 
MEMORY'S BELLS. 



2ES *>* * m 




; i 


FtsrJLd. M *; A i! *K *5 






Ktr 3 99 _! _| l 9 01 01 99 M + 


_1 i 


*~ ^ 


1. Mem - 'rys bells are soft - ly chim - ing Thro' the years of 
2. There's a moth - er's fond ca - ress - ing, And a fa - ther's 

,, L. I I 1 I I 1 I _| | 


__ + <-* 

long a - go, 
ten - der tone; 

i i 


yfi'7 ,\ i 




n 


!ijp> V* m m ' j m m m m 99 




r *0 


tiV ' ^ i 9 if 9 \ m - -m m 9 




1 


H 1 4. 9 


5. 




3. There were hours like jew - els wov - en In the gold - en 


web of day, 


f^\* !/ A - . j 




i 


1 i ^ ^P ^V 


<* 


(^3 


1^ ./ 4V 4V 4V 4V 4W 




. 


*-f- ^^ 1 ^^ ^^ 1 ^^ ^^ 





1 


nul, i I 1 








ii 






II 


rtv i * m * 


9 


II 


SB ws_iCww 9 9 




^ 


And I list - en to their rhyin - ing. To each ca - dence 
Sis - ter*s, broth - er's love - rich bless - ing, In those years were 

,,, u , , I 1 II) 11 


* ^ 
sott and low, 

all my own. 


IN L 1 




II 




_ 


1 II 


^' \) 9 9_ * t 9 -9 9 9 * & 




2 






II 


Sor - rows which I since have prov - en Where my Fu - ther's 

b 9 ' 9 


bet - ter way. 








&/P\ I 1* ' r* i* 1* ^ P 


P 




j P | j 9 L 1 \ 


2 






I * 




2. o CARE! THOU WILT DISPATCH ME. 

f*t i i i i J _i 1 




i 






q 






^ 






i S 


T~ ^^ ^^ ^^ 9& it* .- " ^^ i^ ^^ ^ Igp 






1. Care! thou wilt dis - patch me, If inn hie do not 
2. Hence Care! thou art too cm el Come, Mu sic, sick man's 


match thee : So 
jew - el, His 

-s>- ^- ^_ 


SS ?S ' \ }f ^ 91 31 




P J 


lvr**^" 4* t*^) ** ^ 


>^2 


i 
" 


52 . 8 






^i 






II | 
Illustrating the old stylo of harmony. ^Repeat each verse to "fa la" softly and lightly. 

n I I I i - ...| 


3FI = SF -f H 3P -J i 


1 


I II 


(5> ft~ ~j~ - ^^^ * 5 _j ^ 





g 




^i 




dead - ly thou dost sting me, Mirth on - ly help can bring 
force had well nigh slain me, But thou must now BUS - tain 

4-- ^l^-f*-^^--*- 

g*-^ S= ^= =P= =:= ^ = ^^ ^ ^F^- 


me. 
me. 


52- J- --^ : _] _^_ _^ 
-r- 1- i : ' r 1- - > Y 


1-4 


' J' 



Writing" Exorcises. Write the signatures for the following keys, both Treble and Base clefs and place a note showing 
the position of Doh or write the scale in each key D. E, G, A, El?, F, A|?, BJ7. 



THIRD STEP. 



203 



Bests. Silences are indicated by Rests. Each note has a rest of corresponding value. 
Whole. Half. x Quarter. Eighth. 

. NOTES, zy I 

BESTS. ^ x *t 

1. TAA TAA TAA SAA SAA SAA SAA 



Sixteenth. 



.^L9^ 




^ 




-J 




\ 


1 1 











-- 1 


/rh A d 1 


_. 


E 


-_ 


i ^ 


W * 


K 













Here's 



rest, 



Here's a 



rest, 



List - en, 



List . en ; 




m 



T 

Notes are sung, but rests are si - - lent, List - en, 



List 



2. 



GLAD VOICES NOW ARE CALLING. 




1. Come, come, 

2. Joy, joy, 



Glad voic-es now are call - ing, 
In ev - ery eye is beam - ing, 



Come, come, 
Hark! hark! 



And join onr fes - tive throng. 
'Tis freedom's hap - py song. 





SONG OF THE ECHO. 



1. Tell me what the ech - oes say, All the day, Come a - way, Where the laugh -ing breez -s play; 

2. Hark! the mu - sic in the dell, 'Tis the bell, Hear it swell, How it binds us with its spell; 



X-g-i-C 






m 



1 



-&- 



9 



Meet the sun-light's gold - en ray, Come a - way, Come a - way, This is what the ech 
Here will mem-'ry love to dwell, In the dell, Hear it swell, 'Tis the mer - ry vil - 



oes 
lage 



say. 
bell. 



204 



1. Round for two parts. 



THIRD STEP. 
* 




- 

Come, come, come, the Sum-mer now is here; 



Come, come, come, the Sum-rner now is here. 



2. Quarter note lo the pulse. 
TAA - AA - TAI 



Half-pulse Continuations. 

3. Half-note to the pulse. 
TAA -AA-TAI TAA - AA - TAI 

^J- m- 



TAA - AA 



- TAI 




4. Round for three parts. 




But what thouliv'st live we!!, But 




what thou liv'Bt live well; 



How 



or 8hort per - mit, per - mit to heav'u. 



THE GOLDEN CORN. 



1. Heap 

2. Thro' 

3. All 

4. And 



the fur - n.cr's win -try board ! Heap 

V.1M of grass and meds of flow re, Our 

thrmigh the long bright of Jnm, Its 

now with An - tumm; uioou -lit eves, 

^ . j ^*- 



. en 

ploughs their fur - rows 
ie.ives grew bright and 
hur - vest time has 



T. F. S. 




corn! 



fair, 
come, 




has 

the 



No rich - er gift 

While on the hill me 

And waved iu hot mid - sum - mer noon Ite 

We pluck a - way its frost - ed res, 



r-EESr sw -sr ir.-.# s& 



soft" and yel - low hair, 
bear its treas - nres home. 



THIRD STEP. 



205 



1. Quarter Pulses. 

TAA JAI ta - fa - te 



2. Quarter Continuations. 

TAA - te - fe TAA - e - f e 



8. Round for three parts- 




Bright, how 



bright 



the morn - ing light! 



how 










FINE. __ P.O. 



EVENING. 



NAEOELL 






-a-s- 



^ 






1. Ev'ning's gold- en sun-light, Oft I've watch'd thy glow, As be -hind you hill -top Thou hast sunk so low. 

2. Oft my so - ber fancy On that glow has dwelt, Aud my heart a sad - ness At the sight has felt. 

3. Felt as tho' an - oth - er, Brighter, bet - ter light, Sent a chast'ning vis - ion On my in - ward sight. 

4. From the same Ore - a - tor Each can trace His birth, Thee He dresr.'d in glo - ry: Me He formed of earth. 



-^.. 0. JL jL 



^ = ^= = e-r^^i^=^^= =J: 

U -^-V-H v^* > 'i 



206 



THIRD STEP. 
FORTH WITH FOOTSTEPS LIGHT. 







1. Forth, with foot- steps light, Up the mount-ain height; Winds fresh blow -ing, O - ders strew - ing, 

2. See the sun iu state Rise at heav - ens gate: Forth to meet him, And to greet him, 

K > J . ^ i* * 






m 



* 



CtiO. Forth, 



forth, with foot - steps light, 



Let us scale the 




t c 



Wait to greet us there. I Forthi come forth with foot . Btep8 H ht Aud lefc U8 Bcale the 
Soars the war - bhng lark. j 






I 



-9 * 






mount - ain height; 



Fresh 







^ 



the morn - ing 
Hfcr-K. 



air, 



Na - ture seems most 

fc- & h 1 - 

h ^ m 



fair. 



ii 



l 



mount - aiu heigiit, While fresh nnd bright in morn - ing air, All na - ture seems most fair. 




2. 



WHEN EARLY MORN SHALL WAKE US. 




1. Wl 



ear - ly morn shall wake us To life and light a - new, Should drow - sy Sloth o'er- 
2. Birds war - ble their de - vo - tion In glad and thank-ful songs; Thro' wood, and field, and 



take 
o - 



us, Then 
cean, All 




Du - ty comes to shake us, And show us what to do And show us what 

things are seen ir mo - tion In gay and bus - y throngs, In gay and bus 






do. 
throngs. 



207 



FOURTH STEP. 



Transition Is sometimes indicated in the staff notation by a change of signature, but the general practice is to retain the old ate 
nature and indicate the distinguishing tones of the new key (Fe or Ta) as they are needed by the use of Accidentals ( \f, Q). 

Sharp Fah (/e) means the first sharp key and should be called Te, unless contradicted by Fah. In key C and all keys with sharo 
signatures, Fe is expressed by a sharp on the degree that represents Fah. To restore fhh the natural is used. Iu all leva with flat 
signatures Fe is expressed by a natural on Fah. To restore Fah the flat is used. 

Flat Te (fa) is the distinguishing tone of the first flat key and should be called Fah, unless contradicted by T*. In key C and all 
heys with flat signatures Ta is expressed by a flat on the degree that represents Te. To restore Te a natural is used. In all sharp 
keys Ta is indicated by a natural on Te. To restore Te a sharp is used, 

Duration of Accidentals. The influence of an accidental continues to the end of the measure in which it occurs, unless con- 
Iradicted by another sign. It affects the line or space upon which it is placed, not merely the note that follows it. 

Cautionary Accidentals. The pnpil must be careful to distinguish between accidentals that are of real effect and those which are 
inertly put in as a caution to the player. If an accidental, contradicting some other accidental in & previous measure, merely repeats 
what is in the signature it is only cautionary. 



1. Fe expressed by afl, Fah restored by ajj. 



2. 




3. Fe expressed by a{|, Fah restored by a J2. 
=2 



4. 




8. Ta expressed by a {?. Te restored by a. 




7. Ta expressed by ajj. Te restored bya 





g-Ti*-^ 



-* ^ 



=1= 



-*-&*-*- 



^t 



y-- 



=F= 







=*=^ 



W=5 



208 



FOUKTH STEP. 



1. Transition with change of signature. 



i 



22. Without change of signature. 



s 1 






3. 



d t, d s, 
or B fe s r 



ds 8 1 






^ 



ds 



4. 



1 r 



rg s 1 

or r r m 



8. Should be sol-faed by both "perfect" and "imperfect" methods. 












6. 






7. 















8. 



ml s. 



9. 



i^' ju j j 



J? 



i=t 



^=* 



FOURTH STEP. 
BARNARD. C. M. 



209 



B. C. UNSELD. 



: ^::^ 





1 1 




m 


2 


' Ti* 




M 




i 1 


i 


1. Come let us 
2. To Him en - 


siug the 
throned by 

1 1 


20 

song of 
fil - ial 

-r~\ C3 


songs The 
right, All 

F^h 


sail 
po\ 


&t fn ^_ 

its in heav'n be - 
?'r in heav'n and 

si &-^ 


. i 

gan the 
earth pro - 


strain, 
claim, 


3. ( 

i 


)ng 

fit 


as we 


^.' 
live, i 


9 
inl 


when we 


-^ EtE 

die, And 


EP, tf&H G> * -31 

while in heav'n with 


Him we 


reigu; 


S^ ' 


^ f- 


i 1 





ez (^ 


^j -. 1 J 


i 


(^ & 


ir r i 


f 


^~\ 


2 












I . , 1 1 


1 


i ' 




L_| I 1 


1 



;: p ' ' 







1* 




f 


-T 


<5> 


75 ^ m 


sz - 


1 








+ 


- 


& 












1 


F 


^ 








The horn - age which to Christ be - longs, "Wor - thy the Lamb, for He was slain." 
Hon - or maj - es - ty and might, "Wor - thy the Lamb, for He was slain." 

Q t I i ! _ 




















m ~ 


l""^ * ^B 






11 


J\ r^^ 


i 






; 










^1 m . 


[ ^^ 


53 , 




(^ 


HS 






^P_ 




'I 






k? 


_J C* 




11 




i * 




5*? ' 


s f^> 




^- \ ^^ ^^ 


' m 


-*^ rv* 




^ 


This- song our song of songs shall be; "Wor - thy the Lamb, for He was slain." 


ISS 











"~" f-^ 


'~~~ 1 


L - - *' ^ 


<^> ' & 


(2 


41 


L_^ c*> 


ml 




^ 


--= 1* 








=f- 


~^~ 


-F 1 






=22= 



SILVER SPRING. C. M. 



DK. LOWELL MASON. 



A jt ] 




1 . -1-^4- 


[ ^ fc ^ f 


1 1 1 




i 






y|p ^jj H 


j ^ 


1 <*5 




j 


i 1 


r~~i 




i 









i 


fr 1\ O ^^j ^ 






ml 


J 


#d 




^f 


l * 









|\ 1 I ^^ C^ Jw 








^ * 1 


5< . ! 


9 




m 




in 
et 

lu 




1. There is a name I love 
2. It tells mo of a Sav - 
3. This name shall shed its fra 

-p- _-*- - ^ -&- ^J- 


p $&- p 
to hear, I love 
iour's love, Who died 
grance slill A - long 


m> * 

to E 

to a 
this t 

rJ 


g its worth ; 
me free; 
>rn - y road; 






^ 


-- - 


^ 








II 




* 




^ ^ ^ 


^2 1 


^^p^^| M 


9 


! 


.__ 






(^ 


& 1 


H 


1 




k= 




^> 1 


Zi ' 












^S 






r 3 






^, 


^^) 


1 














f 1 


r r 




i 



It sounds like mu - sic 
It tells me of His 

Shall sweet - ly smooth the 






in mine 
pre - cious 
rug - ged 

I 



ear, The sweet - est 
blood, The sin - ner's 
hill That leads me 



name 

per 

up 



on earth, 
feet plea, 
to God. 






:t: 



210 



1. 



FOU11TH STEP. 
RELIANCE. 



THEO. F. SEWAED, by per. 



^E^ 




H 



= 




y-x- 



->~ \ ^? 



^ 



D.C. 1. O Je - sus ! Friend 1111 - fail - ing, How dear Thou art to me! 

2. Why should I droop in sor - row? Thou'rt i-v - er by my side! 

-* ^ ^ 

- 



are cares or fears OH - 
Why, trembling, dread the 



3M=t= 



1- 









] -^ 



* 



T 
=ft 



E= w g=?^ 

i . i _ i , brf i 



=j=- 



*==: 



11 



=dt=t 
-*=# 



i 



-* *= 



sail - ing? I tin 1 my strength in Thee! 
mor - row, What ill can e'er be - tide? 



Why sliould my feet grow wea - ry Of this my 
If I my cross have tak - en, 'Tis bat to 




grim way? 
low Thee; 




Tho' rough the path and drea - ry, It ends in per - feet day ! 

If scorn'd, despised, for - salt - en. Naught sev - ere Thee from me ! 



J^q-^i r^izr**: 

I \ \ 1 

\Jf -g 



= 



m 



2. 



SUBMISSION. 



Dr. LOWKI.L MASON, by per. 




Life, health, and com - fort 
Why trem - ble at Thy 

J , J 



to Thy 
gra - cions 



will. And make Thy pleas - lire mine, 

hand, That wipes a - way my tears? 



-(9 T 



. 1 







i. 



^3 



FOURTH STEP. 
THERE'S A CHARM IN SPRING. 

. L_J_ . 



211 



THEO. F. SEWARD, by per. 






1. There's a charm in spring, when ev - ery-thing Is burst-iug from the ground, When pleasant show' m bring 

from the ground, 





T 



> 






forth the flow'rs, And all is life a - round; In Summer's day, the fra - grant bay Most sweetly scents the 



= 



dh ^ 

:f^E=* 



=t 



- hah 
^tzS 



r 



333EE^E^* 



-=2 



breeze^ And it is still, save murm'ring rill, Or sound of humming bees. 

i^J:. 



s, 11 When Autum's come, with rusty gun, 
In 



H?^ 



^ 



jg=g=C_UTP 4JJ-|J: I L=t=: 

=ff3 -r r 



quest of birds we roam; 
Unerring aim, we mark the game, 

And proudly bear it home. 
Old Winter's night has its delight, 

Around old stories go, 



y~"H Old Winter's day we're blithe and gay, 
Defying ice and snow. 



SURRENDER. 



CHESTER G. ALLEN, by per. 




j Vain, de - lu - sive world, a - dieu, With all of creature good: | 

(On - ly Je - BUS I pur -sue, Who bought me with His blood: j All Thy pleas-ures I 



fore - go; 



*^z 



r--r 



m 



I, p l 1- 



, | , I N pj U. 1- n 






I tram - pie on Thy wealth and pride; On - ly Je - BUS will I know, And Je - SUB cru - ci - fied. 

I i - J3.if: -^L 



t - 



r 



==U=^ 



Writing Exercises. Copy into Stnff notation quarter-note to the pnlse. with chanre of sicnnture, NOR. 175^176, 177; 
without chnn^e of signutures, Nos. 178, 179, 181, p. 68. Copy into Sol-fa, "perfect" method, Nos. 1, 5, 7; "imperfect inetb 
Nos. 4, 6, 10, p. 208. 



212 



FOURTH STEP. 






1. Chromatic Scale. 



:*= !=ii= 



d de r re m f fe s se 1 le t d 1 d 1 t ta 1 la 8 sa f m ma r ra d 









3. The as a . 



3=if=p: 






4. 

fc 




8. The 1} as a 




H*^^; 





6. 






felE^i 



7. 



2^= 




FOURTH STEP. 



213 



/rfr4 <* i*h^ i* 






| I I | I | 


T 


I 1 






I I 


] 


arj.=q. 


=K_- t~j*-H ' -[J.J. J.J J I J Jgjr^-UV-tJ 


Ej ?=*=&\ 



2. 






3. The X (Double Sharp) and its Cancel t 









4. The t?|? (Double Flat) and its Cancel {jj?. 



1 1- 



8. 

f-O^Ao 1 


, 














| 


j 














f^ffJ^^-^ 


J 


-, 













l 
9 5^ 


9 




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I 


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Writing 1 Exercises. Copy into Staff notation, quarter note to the pulse, Nos. 220 in keys D and E, 221 in keys G and AJ?. 
225 in keys D aud V\2, 227 in keysC, D|?and E, Copy into Sol-fa notation Nos. 2, 3, 5, page, 212; Nos. 3 and 4, page, 213. 



FOURTH STEP. 



THEO. F. SEWABD, by par. 




2. How sen - tie was the 

3 A Fa - thcr's bund we 



rod 
felt, 



That chast - ened ns for 

A Fa - ther's heart we 



mn ! 
knew; 




How 
With 



soon 
tears 



we 
of 



found 
pen 



smil 
fc-nce 



iiiR 
we 



G:d, W-ierd de.-p dis - tress had been. 
knelt, And found His word was true. 



CURTISS. 



WM. F. SHERWIN, by per. 




1. Cense, ye 

2. While our 

3. Light and 



mourn - ers, cease to Ian - guish 
si - lent steps are stray - ing. 
at once de - riv - ing, 



O'er the grave of those you -love; 

Lone - ly through night's deep - 'nmg shade, 
From the hand of _ God most high, 




Pain and death and night 
Glo - ry's bright - est beams 
In His glo - lions pros 



and an - guish 
are play - ing 
ence liv ing. 



En - ter not the 
Round the hap - py 
They shall nev - 



world a - bove. 
Christ - ian's head, 
nev - tr die. 



m 



! Syncopation. 



FOURTH STEP. 



215 



2. 



_jl K_.J*__J 



- - > \- * <- 

> r -> > * 



' *=F^-: 

b ~f?-E^Ep: 



^2 



=tig=zi=:g: 

+ r + + 



3. 

a* 80P 

Itli 



_^ g_ 



IN GROVES OF FRAGRANT LARCHES. 

* s -zfe 

s V 






1. In groves of fm - grant lar - cbes, We soft - ly pace a - long, While all the for - est arch - es Re - 

2. The air - y mu - isic meets us Like pass - ing spir - it voice, With 1'ri. ml ly me;in-ing greets us, And 



CONTRALTO 



S5^z= 
o 



IP 

^5d_* 



=4: 






-^ 

-^ ^*- 



3. And why should not the prnis-es Of hn - man lips bo heard, When grate-fnl in - stinct HUH - CM The 

4. We too, the ech - oes \\ak-iiig. Our glad-noss will ex -press, All gloom - y thoughts for - sale-ing, The 

tzfz^fc^dtd^i* "*" - - - 

:^=fc -^_^--;p u-= 



nd 



^ y^- 



j_, ^_ 



-v t^- 






-B *- 
^^ 



sound with cheerful song. La la la 
bids our hearts re - joice. 



la 



la la, etc. 



iStEEji 

: * 1 k 



ippi^Ii 



trill - ings of the l>ird. La 
Lord of life to bless. 



la la la la la, etc. 




> u- 




s^ipi 



La la la la la la la, etc. 






r^ w r^^^ ^^y ^ 

-~9^-J* 4 * 

La la la la la la, etc. 






216 FOURTH STEP. 

1. Quarter-pulse Silence. Sixteenth Best. 




2. Thirds of a Pulse. Triplets. 




F. J. CROSBY. 




TRAVELING HOMEWARD. 



W. H. DOANE. 

1 1- 



s 



Trav' 
Trav' 
Trav' 
Trav' 



-ling homeward, trav'-ling homeward, In the Sav - iour we are 

ling homeward, tniv'-ling homeward, Drawing near - er ev - ery 

-ling homeward, tnvv'-ling homeward, Tho" our hearts nre oft op 

-ling homeward, trav'-liug homeward, Our Re - deem - er's love to 



strong; 
day, 
pressed 
share; 



He 
To 
Je - 
We 



di - 
a 

sus 
shall 



rects 

mans 

kind 

see 



us 

- ion 

- ly 
Him 



r>n onr 
bright and 
bears our 

in His 






i 'f-^S- 

- == F = g- 



^ 



m 



HS- 



=t= 



i 




jour - uey, Fills our hearts with love and song, 

glo - ry That shall nev - er fade a - way 

bur - dens, Gives the wea - ry spir - it rest, 

king -dom, We shall dwell for ev - er there 



' ( Hal - le - lu - 
e. ) 



jah! 



Hal -le - lu - jah! 



Hal- le - 



P 






3= 

(81DJ 



^ 



(sing) 



(sing) 




Copyright, i8o, by Billow & Main, 



217 



FIFTH STEP. 



In the Staff notation the Minor Mode is represented as an appendage of the relative major. The minor mode is named from 
the pitch of the tone Lah. Thus the relative minor of the key C is A minor; the relative minor of the key G is E minor, and so on. 
Each signature indicates a major key and its relative minor. Thus the signature of one sharp indicates the keys of G major and E 
minor. The notatioual difficulties are with Se and Ba, chiefly with Ba. 

The Sharp Seventh of the minor mode (Se) is always written as the sharp of Soh. 

The Sharp Sixth of the minor mode (Ba) is always written as the sharp of Fah. There is no sign in the staff notation by which 
Ba can be distinguished from Fe. It is easily mistaken for Fe unless it stands in immediate relation with Se. When Fah sharp is 
followed by Soh sharp, and when Soh sharp is followed by Fah sharp, the Fah sharp must always be called Ba. 





m 



i i i 



E3E8Jif=f=S 



s. 



>--$ 



6. Round for three parts. 




7. Round in four parts. 




218 



FIFTH STEP. 




2. Round for three parts 



*-^ ' * * 



* ^- 



3. Round for three parts. 

&~TZr^ 



=t=F 



Calm he rests, with - out a stone; Beau-ty, ti - ties, wealth did own; Now a heap of dust a - lone. 
4. Round for four parts. 

b^^= 



t= 



.X- K K K r*~^s: 



:*=?= 



33 



Ah 



me! ah, what per - ils to en - vi - rou, Ho that med-dles with cold i - ion, ah me! 



5. 



ALL MY HOPE. 



at 






-St 



v i 

1. All my hope is grounded sure - ly Ou the ev - er - liv - ing God, I can trust His aid se cure - ly, 



: 



* h 



; 



2. Are we not by gifts sur-round-ed More than we dare ask of good? For His mer - cies are unbonnd-ed, 

3. Let not then His gifts up - br.iid us, Who His ver - y Son hath giv'n; Thank, O thank Him who hi th made us, 



=M= 



* * 






* 

He sh;dl be my high - est good; For this Rock f"ars no shock. And our trust will nev - er mock. 



* *- 



^; 



1! 



Flo\v-ing like a might -y flood; Earth and air to us bear To - kens of His lov - ing earn. 
From the dust, yet heirs of heav'n. God is our shield and tow'r, Great in wis - dom, love, and pow'r. 



T*- 



II 



Writing Exercises. -Copy into Staff notation, quarter note to the pulse. Nos. 272, 271, 280. 28'. 283. Copy in Sol-fU 
notation, NOB. 2, 4, 5, page, 217. 



219 



SIXTH STEP. 



Transitions of more distant removes. Singing 

from the stuff notation is easy so long as the music does not change 
key, or when there is a change of but one remove. But readin 
remote transitions and modulations, in which the singer is con- 
fronted by a bewildering array of accidentals, is not easy. The 
difficulty is to some extent in the music, but to a much greater 
extent in the notation. Occasionally passages are met with which 
seem to be nothing but a wilderness of sharps, flats and naturals. 
Nearly every note is altered, the signature is not the slightest guide 
to the key, aud the singer is apt to despair of finding it. Without 
a knowledge of harmony it is impossible to be perfectly certain in 
the power of deciding the key at a glance. The harmonist reads 
the key most quickly by watching the movement of the 13ase, 
especially in cadences. Tiie ordinary singer, reading music at 
first sight, has not time lo compare one part with another, to notice 
the movement of the Base, to mark the various accidentals and 
their resolutions. He must watch for the characteristic melodic 
shapes and phrases. All decided changes of key are felt most 
positively in cadences. The mental affects are there most strongly 
asserted; therefore, by "looking ahead" to the close aud noticing 
the mental effects, the singer will be aided iu deciding the key. 
The most expert readers sometimes find it necessary to analyze the 
whold phrase before they can be positively certain of the key. 

Rules for finding' the key. The order of the sharps 
or flats as they occur in signatures should be memorized. A sig- 
nature is the sharps or flats necessary iu transitions from key C to 
other keys placed iu compact order; the same sharps or flats occur- 
ring as accidentals are simply the signature dispersed. It will be 
remembered that the List sharp in a signature is Te, the last flat is 
Fah ; this same rule holds good in the case of accidentals (except 
as to chromatics, to be mentioned later). 



1 

Ffl 



Order of the sharps. 
3456 

GJ DJ AJ Etf 




It should be remembered that the first sharp in the above table 
indicates the key G; the first, and second key D; the first, second 
and third key A, and so on. To adopt n convenient phrase, "CJ 
is sharper than Fjf; GJ is sharper than CJ," and so on. Or, we 
may say that FJ is the nearest sharp ; CJ is a farther sharp, GJ a 
still farther sharp, and so on through the whole series. From t is 
we deduce the rule "Find the sharpest or farthest sharp and < all 
it Te." 

Order of the flats. 
1 23456 

BIZ Efe All T>\L GtZ Cfc 




With the flats we notice that Bfe is the nearest flat; Efc is a 
farther flat; Ak a still farther flat, and so on. The rule for flats 
is "Find the flattest or farthest fl.it and call it Fah.' 

Naturals iu keys with flat signatures are the same as sharps, 
and in keys with sharp signatures, nnnmils are the same as flats. 
The rules of the last sharp and the la tflal nr>- now applied to the 
natural. In flat signatures the last natural is T<: In sharp signa- 
tures the last natural is Fah. The last sharp crflat is the farthest 
one to the right; the last natural is the nearest one to the left. 

Order of naturals in keys wlh flat signatures. 
654321 

BJ] EtJ AtJ Dt3 GJj Cfl 



Order of naturals in keys with sharp signatures. 
5432 

CD Gfi DJ Aft 



Efi 



The mode of search is now reversed. In the above table it is 
seen that the farthest natural is CS; Gfl is a nearer natural; Dfl is 
still nearer, and so on. The rul.i is. with fUt signatures "Find 
the nearest natural aud call it Te." With sharp signa'urrs "Find 
the nearest natural aud call it Fah." Another rule The farthest 
sharp in the signature left uncancelled is Te. The farthest flat 
left uucaucelled is Fah. 

Sometimes, when a passage does not contain either a Te or a 
Fah the rule of the farthest flat or sharp or nearest natural will not 
give the clue. The key must then be decided by the melodic 
shape, the cadence and the mental effect of the passage. 

Chromatic Tones. Care must be taken to distinguish 
between accidentals that indicate transition and those used for 
mere passing chromatic effects. If an accidental is repeated 
through several measures, wherever the same tone occurs, no doubt 
the key is changed. But if it is not repeated, or if it is contra- 
dicted, it is a chromatic tone, or a very brief transition If the 
farthest sharp or flat be immediately contradicted it is a chromatic 
tone, and the next farthest must bs looked for to decide the key. 

Unmarked Accidentals. In transition it sometimes 
happens that Fe Ba, and Tit, which would otherwise be expressed 
by a natural contradicting some sharp or flat iu the signature, will 
have nothing to distinguish them, aud are often a source of diffi- 
culty to the pupil. Fe and Ba in all first flat removes are the 
same as Te of the old key aud remain unmarked. Ta in all first 
sharp removes is the same as Fah of the old key and remains tin- 
marked. 



220 SIXTH STEP. 

Sharp Removes, departing with sharps. - 






**&-*- 






Flat Removes, returuiug with naturals. 






P unmarked accidental. 






Flat Removes, departing with flats. 



EB^jfrrrCrtng^i 

^j ^ ^*__ ^^j 







Sharp Removes, returning with naturals. 
1 






jtBTT l~^ C 1 ^ 1 fc. 1 1 | 1 1 r I F^H J^ <lU w I M^ *^ J I 







SIXTH STEP. 



221 



1. Unmarked accidentals, Fe, Sa, Ta. 









a3ad^=a=EEtf^-J-tiia-J^j; 






2. 



t 



z= 



3. 




=t=l=4=t 



w=t 



^_J44^=z 

-^^Hbyn*-*- 



:$*: 



^^ 



4. 



5. Transition what Eemoves ? 



From J. BAENBY. 



fi | |S J= p* K | tf~ M 

fr J. / J-sr-^==^=3=^ 



^ 



> N 



*-l 







f 



T 



*=% 



ttc 



4=-Jti 



n i r~^ 






6. 



From J. B. DYKES. 
J J g: ' 






^ 






I 



-I I- 



^3S 



* 



r- r 



J- J. 



i 



- 



222 



SIXTH STEP. 



K K I 



s 



=y-i*- 



2. 



i J L H -^ : EJ-s_x_ 

W*^ I ^=f^^^ 



Hti 






r "I 



-I i- 






4. 



gt^v^ 



^^ 



^ 



3*-. 



i i ^f 



^ 



1. 



SIXTH STEP. 

?J=3=E 



^^^^ 






:i= I IL l_ 



i 









-*- 






1 



2. 




% P 



3. 




^= 

== 




4. 









i-W- 



HS-- 



Writing: Exercises. Copy into Shiff notation. qnnrt.pr note to the pnlse. without change of signntnre. Nos. 328. 330, 32. 
333. 334, 316, 348. 347. Copy into Sol-fa notation, "perfect" method, Nos. 1, 2, 4, 5, 6, page, 221, Nos. Sand 5, page, 2.2, Nos. 
3 and 4, page, 223. 



224 



INDEX. Part II; 



For Index to Part I, seepage 112. 



Ah me! (Bound) 218 

All merrilly singing 155 

All my hope 218 

April 150 

Aston 122 

Autumn Song 164 

Avelin 119 

Barnard 209 

Buttishill 131 

Boat song 167 

Bright, how bright (Bound) 205 

Broken Threads 132 

Calm he rests, without (Round) 218 

Choral Song 196 

Clark 143 

Come and roam the wildwood 198 

Come, come, come. (Round) 204 

Corona 142 

Curtiss 214 

Dawson 149 

Ellwood 142 

Ennerdale 123 

Esther 134 

Eventide 130 

Evening Hymn 16f; 

Evening 205 

Fuben Iti8 

Fairy's Isle, The 160 

Faithful and true 172 

Farewell 152 

Ferniehurst 132 

Forest Song. Evening 163 

Forth, with footsteps light 206 

Freedom spreads her downy wings . . . 120 

Glad voices now are calling 203 

God is love 197 

Golden Corn, The. . .204 



Gone is Autumn's. (Round) 117 

Good-night, my Darling 169 

Grace Church 129 

Gracious Spirit, Holy Ghost 145 

Grandeur 166 

Hark ! the pealing 120 

Hark! without the storm. (Round)... 117 

High and low. (Round) 196 

Homeland, The 133 

Home Returning 125 

Hurruh ! welcome the day 126 

In darkness and in loneliness. (Round) 117 

In groves of fragrant larches 215 

In the hour of trial 131 

Jack and Jill 154 

Jesus I come to Thee 170 

King and the Miller, The 137 

Landsdowne 147 

Last Sleep, The 134 

Light at home, The 150 

Little by little 121 

Lonely hearts there are to cherish 116 

Memory's Bells 202 

Midnight Cry 153 

Minor Mode Phrases 174, 175, 176 

Morn of life, The 197 

My Dreum 158 

My friends thou hast put 116 

Night, lovely night 121 

Nor love thy life. (Round) 204 

O Care ! thou wilt dispatch me 202 

O Love Divine 162 

O Paradise 129 

Petrox 133 

Prentiss.., . 144 



Reliance 210 

Rouse ye now. (Round) 196 

Sad leaves are dying, The 119 

Sad memories 124 

Say, my heart, why art thou 117 

Silver Spring 209 

Sing ye Jehovah's Praises 135 

Slumber Sweetly 157 

Song of the old Bell, The 127 

Song of the Echo 203 

Saunders 145 

Staff Notation 189 to 223 

Stand by the flag 171 

Support 159 

St. Cecilia 130 

Storm, The 148 

Submission 210 

Summer time is gone 116 

Surrender 211 

Sweet and low 165 

Sweetly sounds the (Round) 199 

Their blood about Jerusalem 115 

There's a Charm in Spring 211 

Thou, poor bird, mourn'st. (Round).. 116 

Through the Day 161 

'Tis sweet to remember 115 

Traveling Homeward 216 

Trust 166 

Voice Training 177 to 188 

Vox Dilecti 148 

West Heath 144 

When daylight fades away 147 

When early morn shall wake us 206 

When the leaves are falling fast 122 

When the swell of the ocean 116 

Why waileth the wind 123 

Wilbur.. 214 





metrical! ferric gel-fa 




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